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BIOGRAPHICAL SKETCHES 



OF 



AMERICAN ARTISTS 



THIRD EDITION, REVISED AND ENLARGED. 



"ART DEALS WITH THINGS FOREVER INCAPABLE OF DEFINITION AND THAT 
BELONG TO LOVE, BEAUTY, JOY AND WORSHIP."— Pioitnus. 



3rtJ 



MICHIGAN STATE LIBRARY 

LANSING 

1915 




JULIAN ALDEN WEIR 

President of the National Academy of Design, New York. 



BIOGRAPHICAL SKETCHES 



/St 

OF -•-;. 



AMERICAN ARTISTS 



THIRD EDITION, REVISED AND ENLARGED. 



MICHIGAN STATE LIBRARY 

\ I LANSING 

1915 



I 5'^ 



0. Vf 6. 
OCT 8 59)5 






^ 



FOEEWORD. 

This bulletin is the result of an increased public demand for biogra- 
phies of Anaerican artists and other information relative to the growth 
of art in America. An examination of the list of material to which 
reference has been made will show the faithful work which has been 
done by the compiler, Miss Helen L. Earle, of this department. 

MARY C. SPENOER, 

State Librarian. 



TABLE OF CONTENTS 



Page 

Abbrevations 18 

American Art in the Luxembourg 17 

Bibliography 269 

Biographical sketches 19 

Etchers 14 

Illustrators 13 

Members of the Legion of Honor 16 

Michigan Artists 17 

Miniature painters 14 

Mural painters and stained glass designers 15 

Painters ^ 9 

Sculptors 12 



PORTRAITS 



Edwin Austin Abbey 20 

John "White Alexander 24 

J. Carroll Beckwith 34 

George Inness 128 

John LaFarge 140 

J. Gari Melchers .' 163 

Elizabeth Nourse 180 

Augustus Saint-Gaudens 211 

John Singei Sargent 213 

Henry Ossawa Tanner 234 

James Abbott McNeill Whistler 260 

Julian Alden Weir Frontispiece 



PAINTERS. 



Abbey, Edwin Austin 

Alexander, John White 

Allston, Washington 

Ansehutz, Thomas Pollock 

Armstrong, D. Maitland 

Baker, Elizabeth Gowdy 

Baker, Ellen Kendall 

Barlow, Myron 

Beaux, Cecilia 

Beckwith, James Carroll 

Belcher, Hilda 

Bellows, George Wesley 

Benson, Frank Weston 

Bierstadt, Albert 

Bisbing, H. Singleton 

Blakelock, Ralph Albert 

Blashfield, Edwin Rowland 

Blum, Robert Frederick 

Blumenschein, Ernest Leonard 

Blumenschein, Mary Shepard Green 

Bogert, George 

Borglum, J. Gutzon M. 

Bouguereau, Elizabeth Gardner 

Bowen, Benjamin James 

Breckenridge, Hugh Henry 

Breuer, Henry Joseph 

Bridges, Fidelia 

Bridgman, Frederick Arthur 

Brown, George Loring 

Brown, John George 

Browne, George Elmer 

Brush, George DeForest 

Carlsen, Emil 

Carpenter, Francis Bickwell 

Cassatt, Mary 

Champney, James Wells 

Chapman, John Gadsby 

Chase, William Merritt 

Church, Frederick Edwin 

Church, Frederick Stuart 

Clarke, Thomas Shields 



Cole, Thomas 

Coman, Charlotte Buell 

Cooper, Colin Campbell 

Cooper, Emma Lampert 

Copley, John Singleton 

Couse, Eanger Irving 

Cowles, Genevieve Almeda 

Cox, Kenyon 

Cox, Louise 

Craig, Charles. 

Crane, Bruce 

Crowninshield, Frederic 

Curran, Charles Courtney 

Dabo, Leon 

Dabo, Theodore Scott 

Daingerfield, Elliott 

Dannat, William T. 

Davies, Arthur B. 

Davis, Charles Harold 

Deakin, Edwin 

Dearth, Henry Golden 

DeCamp, Joseph Rodefer 

DeHaven, Frank 

DeKay, Helena (Mrs. R. W. Gilder) 

Deming, Edward Willard 

Dessar, Louis Paul 

Dewey, Charles Melville 

Dewing, Maria Oakey 

Dewing, Thomas Wilmer 

Dillaye, Blanche 

Dodson, Sarah Paxton Ball 

Dolph, John H. 

Donoho, Gaines Ruger 

Dougherty, Paul 

Dufner, Edward 

Dunlap, Mary Stewart 

Duveneck, Frank 

Eakins, Thomas 

Eaton, Charles Harry 

Eaton, Wyatt 

Elliott, Charles Loring 



10 



Elliott, Jolin 

Enneklng, John Joseph 

Farny, Henry 

Fenn, Harry 

Fisher, William Mark 

Foote, Will Howe 

Forbes, Edwin 

Foster, Ben 

Fournier, Alexis Jean 

Fowler, Frank 

Frieseke, Frederic Carl 

Fromuth, Charles Henry 

Fuller, George 

Garber, Daniel 

Gaul, William Gilbert 

Gay, Walter 

Genth, Lillian Matilde 

Gibson, Charles Dana 

Gies, Joseph W. 

Gifford, Robert Swain 

Glackens, William J. 

Grayson, Clifford Provost 

Groll, Albert Lorey 

Gruppe, Charles Paul 

Guerin, Jules 

Gutherz, Carl 

Haggin, Ben Ali 

Harding, Chester 

Harding, George 

Harper, William A. 

Harrison, Lovell Birge 

Harrison, Thomas Alexander 

Hassam, Childe 

Hawthorne, Charles Webster 

Healy, George Peter Alexander 

Henri, Robert 

Higgins, Eugene 

Hitchcock, George 

Homer, Winslow 

Hopkin, Robert 

Horton, William Samuel 

Hovenden, Thomas 

Howe, William Henry 

Hubbell, Henry Salem 

Hunt, William Morris 

Hutchens, Frank Townsend 

Inman, Henry 

Inness, George 

Inness, George, Jr. 

Isham, Samuel 

Ives, Halsey Cooley 



Ives, Percy 

Johansen, John Christen 

Johnson, Eastman 

Johnson, Marshall 

Johnston, John Humphreys 

Jones, Hugh Bolton 

Keith, William 

Kendall, William Sergeant 

Kirk, Maria Louise 

Knight, Daniel Ridgway 

Knox, Susan Ricker 

Koopman, Augustus 

Kost, Frederick 

LaFarge, John 

Lauber, Joseph 

Leigh, William R. 

Leroy, Anita 

Leutze, Emanuel 

Lie, Jonas 

Little, J. Wesley 

Loeb, Louis 

Longpre, Paul de 

Low, Will H. 

Lucas, Albert Pike 

Luks, George Benjamin 

MacCameron, Robert 

MacEwen, Walter 

McLane, M. Jean 

MacMonnies, Frederick W. 

Macomber, Mary L. 

Marin, John 

Martin, Homer Dodge 

Maynard, George W. 

Melchers, J. Gari 

Metcalf, Willard Leroy 

Miller, Richard 

Millet, Francis Davis , 

Minor, Robert Crannell 

Mitchell, John James 

Monks, John Austin Sands 

Mora, P. Luis 

Moran, Edward 

Moran, Mary Nimmo 

Moran, Peter 

Moran, Thomas 

Mosler, Henry 

Murphy, John Francis 

Nast, Thomas 

Newcomb, Maria Guise 

Newell, George Glenn 

Nicholls, Rhoda Holmes 



11 



Noble, John 

Nordfeldt, Bror J. Olsson 
Nourse, Elizabeth 
Ochtman, Leonard 
Osthaus, Edmund Henry 
Page, Walter Oilman 
Palmer, Walter Launt 
Pape, Eric 
Parker, Edgar 
Parker, Lawton S. . 
Parrish, Stephen 
Parton, Arthur 
Paulus, Francis Petrus 
Paxton, William McGregor 
Peale, Charles Watson 
Pearce, Charles Sprague 
Peixotto, Ernest Clifford 
Penfold, Frank C, 
Perrault, I. Marie 
Picknell, William Lamb 
Piatt, Alethea Hill 
Pope, Alexander 
Potthast, Edward Henry 
Powell, William Henry 
Prellwitz, Edith Mitchell 
Prellwitz, Henry 
Proctor, Alexander P. 
Pyle, Howard 
Ranger, Henry Ward 
Read, Thomas Buchanan 
Redfield, Edward Willis 
Reid, Robert 
Remington, Frederic 
Reuterdahl, Henry 
Richards, William Trost 
Robinson, Theodore 
Rolshoven, Julius 
Ryder, Albert Pinkham 
Sargent, John Singer 
Sartain, William 
Schille, Alice 
Schneider, Otto J. 
Schofield, W. Elmer 
Scott, Emily Maria Spaford 
.Shannon, James Jebusa 
Shinn, Everett 
Shirlaw, Walter 
Shulz, Adolph Robert 
Simmons, Edward Emerson 
Sloan, John 
Smedley, AVilliam Thomas 



Smillie, James D, 

Smith, Francis Hopkinson 

Smith, Jessie Willcox 

Smith, Letta Crapo 

Sonntag, William Louis 

Stanley, James M. 

Steele, Helen McKay 

Sterne, Maurice 

Sterner, Albert E. 

Stewart, Julius L. 

Stuart, Oilbert 

Sully, Thomas 

Sylvester, Frederick Oakes 

Tanner, Henry Ossawa 

Tarbell, Edmund C. 

Taylor, William Ladd 

Thayer, Abbott Henderson 

Tiffany, Louis Comfort 

Trumbull, John 

Tryon, Dwight William i 

Tucker, Allen 

Turner, Ross S. 

Twachtman, John Henry 

Ulrich, Charles Frederick 

Vail, Eugene 

Van Elten, Kruseman 

Vedder, Elihu 

Vinton, Frederic Porter 

Volk, Douglas 

Vonnoh, Robert William 

Walden, Lionel 

Walker, Henry Oliver 

Walker, Horatio 

Walter, Martha 

Watkins, Susan 

Waugh, Frederick J. 

Webster, Herman 

Weeks, Edwin Lord a 

Weir, Julian Alden 

Wendt, Julia M. Bracken 

Wendt, William 

Wentworth, Cecile de 

Whistler, James Abbott McNeill 

White, Thomas Gilbert 

Whittredge, Worthington 

Wiggins, Carleton 

Wiles, Irving Ramsey 

Williams, Frederick Ballard 

Woodbury, Charles Herbert 

Woodwell, Joseph R. 

Wyant, Alexander Helwig 



12 



SCULPTORS. 



Adams, Herbert 

Aitken, Robert I. 

Ball, Thomas 

Barnard, George Grey 

Bartlett, Paul Wayland 

Baxter, Martha Wheeler 

Beach, Chester 

Bitter, Karl Theodore 

Blumenschein, Mary Shepard Green 

Borglum, John Gutzon M. 

Borglum, Solon Hannibal 

Boyle, John J. 

Brenner, Victor David 

Burroughs, Edith Woodman (Mrs. 

Bryson Burroughs) 
Cadwalader-Guild, Emma Marie 
Calder, A. Stirling 
Clarke, Thomas Shields 
Couper, William 
Crunelle, Leonard 
Dallin, Cyrus Edwin 
Davidson, Jo 
Donoghue, John 
Donoho, Gaines Ruger 
Duveneck, Frank 
Eberle, Abastenia St. Leger 
Elwell, Frank Edwin 
Ezekiel, Moses Jacob 
Fairbanks, Avard 
Fraser, James Earle 
French, Daniel Chester 
Grafly, Charles 
Hosmer, Harriet 
Hyatt, Anna Vaughan 
Kelly, James Edward 
Kemeys, Edward 
Konti, Isidore 
Ladd, Anna Coleman 
Lamb, Ella Condie 
Lauber, Joseph 



Lewis, Edmonia 

Linder, Henry 

Longman, Evelyn Beatrice 

Lopez, Charles Albert 

Lucas, Albert Pike 

Lukeman, H. Augustus 

Macdonald, James Alexander Wilson 

MacMonnies, Frederick W. 

MacNeil, Carol Brooks 

MacNeil, Hermon Atkins 

Manship, Paul 

Mears, Helen Farnsworth 

Neandross, Sigurd 

Ney, Elizabeth 

Niehaus, Charles Henry 

Pope, Alexander 

Potter, Edward Clark 

Potter, Louis 

Pratt, Bela L. 

Proctor, Alexander P. 

Remington, Frederic 

Rhind, J. Massey 

Rogers, John 

Roth, Frederick G. R. 

Ruckstuhl, Frederick Wellington 

Saint Gaudens, Augustus 

Schuler, Hans 

Scudder, Janet 

Shrady, Henry Merwin 

Taft, Lorado 

Vedder, Elihu 

Vonnoh, Bessie Potter 

Walker, Nellie Verne 

Ward, John Q. A. 

Warner, Olin L. 

Weinman, Adolph Alexander 

Wendt, Julia M. Bracken 

Whitney, Gertrude Vanderbilt 

Yandell, Enid 

Young, Mahoni 



13 



ILLUSTRATORS. 



Abbey, Edwin Austin 

Ahrens, Ellen W. 

Bellows, George W. 

Birch, Reginald Bathurst 

Blashfield, Edwin H. 

Blum, Robert F. 

Blumenschein, Ernest Leonard 

Borglura, J. Gutzon M. 

Chandler, George W. 

Christy, Howard Chandler 

Church, Frederick S. 

Clark, Walter Appleton 

Cory, Fanny Y. 

Cox, Kenyon 

Cox, Louise 

Crow^ninshield, Frederic 

Daingerfield, Elliott 

Deming, Edward William 

Dewing, Maria Oakey 

Dielman, Frederick 

Dillaye, Blanche 

Eaton, Charles Harry 

Elliott, John 

Emmet, Lydia Field 

Fenn, Harry 

Fisher, Harrison 

Flagg, James Montgomery 

Fournier, Alexis J. 

Fowler, Frank 

Frost, Arthur Burdett 

Gaul, William Gilbert 

Gibson, Charles Dana 

Glackens, William J. 

Green, Elizabeth Shippen 

Guerin, Jules 

Harding, George 

Harrison, L. Birge 

Hitchcock, George 

Hitchcock, Lucius Wolcott 

Hutt, Henry 

Keith, William 

Keller, Arthur I. 

Kelly, James Edward 

Kemble, Edward Windsor 

Kinney, Margaret West 



Kinney, Troy 
Kirk, Maria Louise 
Lamb, Ella Condie 
Leigh, William R. 
Leroy, Anita 
Loeb, Louis 
Low, Will H. 
McCarter, Henry 
McLane, M. Jean 
Maynard, George W. 
Millet, Francis Davis 
Mora, F. Luis 
Moran, Thomas 
Nast, Thomas 
Nicholls, Rhoda Holmes 
Oakley, Violet 
Pape, Eric 
Parrish, Maxfield 
Peixotto, Ernest Clifford 
Pennell, Joseph 
Potthast, Edward Henry 
Preston, Mary Wilson 
Pyle, Howard 
Reinhart, Charles Stanley 
Remington, Frederic 
Reuterdahl, Henry 
Robinson, Theodore 
Seton, Ernest Thompson 
Sherwood, Rosina Emmet 
Shinn, Everett 
Shinn, Florence Scovel 
Sloan, John 

Smedley, William Thomas 
Smith, F. Hopkinson 
Smith, Jessie Willcox 
Steele, Helen McKay 
Stephens, Alice Barber 
Sterner, Albert Edward 
Stilwell, Sarah S. 
Taylor, William Ladd 
Turner, Ross S. 
Vedder, Elihu 
Wenzell, Albert Beck 
Wright, M. Louise Wood 
Yohn, Frederick Coffay 



14 



ETCHERS. 



Bacher, Otto 

Beatty, John W. 

Blum, Robert F. 

Brown, George Loring 

Cassatt, Mary 

Chandler, George W. 

Chapman, John Gadsby 

Church, Frederick S. 

Dielman, Frederick 

Dillaye, Blanche 

Duveneck, Frank 

Farrer, Henry 

Fenn, Harry 

Forbes, Edwin 

Gifford, Robert Swain 

Greatorex, Eliza 

Hornby, Lester G. 

Hyde, Helen 

Lauber, Joseph 

Loeb, Louis 

MacLaughlin, Donald Shaw 

Merrltt, Anna Lea 

Mielatz, Charles Frederick William 



Mitchell, John James 
Monks, John Austin Sands 
Moran, Mary Nimmo 
Moran, Peter 
Moran, Thomas 
Nordfeldt, Bror J. Olsson 
Parrish, Stephen 
Paulus, Francis Petrus 
Pennell, Joseph 
Pitts, Lendall 
Potter, Louis 
Reed, Earl H. 
Schneider, Otto J. 
Sloan, John 
Smillie, James D. 
Sterne, Maurice 
Stevens, Helen B. 
Van Elten, Kruseman 
Washburn, Cadwallader 
Webster, Herman A. 
Weir, Julian Alden 
' Whistler, James A. McNeill 



MINIATURE PAINTERS. 



Ahrens, Ellen Wetherald 
Aid, George Charles 
Baer, William J. 
Baker, Elizabeth Gowdy 
Baker, Martha Susan 
Baxter, Martha Wheeler 
Bayliss, Lillian 
Beckington, Alice 
Coudert, Amalia Kussner 
Dix, Eulabee 
Emmet, Lydia Field 
Fuller, Lucia Fairchild 
Hallowell, George H. 
Hills, Laura Coombs 
Humphreys, Marie Champney 



Inman, Henry 

Josephi, Isaac E. 

Kendall, Margaret Stickney 

Malbone, Edward Greene 

Otis, Amy 

Peixotto, Ernest Clifford 

Redfield, Heloise Guillou 

Schille, Alice 

Sherwood, Rosina Emmet 

Southwick, Elsie Whitmore 

Stanton, Lucy May 

Thayer, Theodora A, 

Welch, Mabel R. 

Whittemore, William John 

Wright, M. Louise Wood 



15 



MURAL PAINTERS AND STAINED GLASS DESIGNERS. 



Abbey, Edwin Austin 

Alexander, John White 

Armstrong, D. Maitland 

Ballin, Hugo 

Benson, Frank Weston 

Blashfield, Edwin H. 

Blum, Robert F. 

Cowles, Genevieve Almeda and Maud 

Alice 
Cox, Kenyon 
Crowninshield, Frederic 
Daingerfield, Elliott 
De Camp, Joseph Rodefer 
Deming, Edwin Willard 
Dewing, Thomas Wilmer 
Dielman, Frederick 
Dodge, W. DeLeftwich 
Duveneck, Frank 
Elliott, John 
Frieseke, Frederic Carl 
Grover, Oliver Dennett 
Guerin, Jules 
Gutherz, Carl 
Heinigke, Otto 
Herter, Albert 
Hunt, William Morris 
LaFarge, John 
Lamb, Charles Rollison 
Lamb, Ella Condie 
Lamb, Frederick Stymatz 
Lathrop, Francis 
Lauber, Joseph 
Low, Will H. 



MacEwen, Walter 
Marsh, Fred Dana 
Maynard, George W. 
Melchers, J. Gari 
Millet, Francis Davis 
Mora, F. Luis 
Mowbray, Henry Siddons 
Oakley, Violet 
Parrish, Maxfield 
Pearce, Charles Sprague 
Peixotto, Ernest Clifford 
Potthast, Edward H. 
Pyle, Howard 
Reid, Robert 
Sargent, John Singer 
Sears, Taber 
Sewell, Robert V. V. 
Shinn, Everett 
Shirlaw, Walter 
Simmons, Edward E. 
Sperry, Edward Peck 
Steele, Helen McKay 
Thayer, Abbott H. 
Tiffany, Louis Comfort 
TilHnghast, Mary E. 
Turner, Charles Yardley 
Van Ingen, William B. 
Vedder, Elihu 
Walker, Henry O. 
Weir, J, Alden 
Whistler, James A. McNeill 
Wiles, Irving Ramsey 
Willet, William 



16 



AMERICAN ARTISTS 

OF THE 

LEGION OF HONOR. 

(The Legion of Honor of France is the most vital and democratic 
order in the world. It is an order of merit and has a genuinely inter- 
national significance. 

In the Paris salon the insignia of the order — the "red ribbon" — is the 
highest award given to exhibitors. 

The following American painters and sculptors have received this 
coveted prize.) 



Abbey, Edwin Austin 
Alexander, John White 
Armstrong, D. Maitland 
Bartlett, Paul Wayland 
Bierstadt, Albert 
Bisbing, H. Singlewood 
Bridgman, Frederic Arthur 
Cassatt, Mary 
Dannat, William T. 
Gay, Walter 
Harrison, T. Alexander 
Howe, William Henry 
Johnston, John Humphreys 
Knight, Daniel Ridgway 
LaFarge, John 



MacCameron, Robert Lee 
MacEwen, Walter 
MacMonnies, Frederick William 
Melchers, J. Gari 
Millet, Francis Davis 
Mosler, Henry 
Pearce, Charles Sprague 
Saint-Gaudens, Augustus 
Sargent, John Singer 
Stewart, Julius L, 
Tiffany, Louis Comfort 
Vail, Eugene 
Wentworth, Cecile de 
Whistler, James A. McNeill 



17 



AMERICAN ART IN THE LUXEMBOURG. 

M. Benedite, curator of the Luxembourg Museum, Paris, is quoted 
by the correspondent to the New York Sun as stating that the foreign 
schools of art in the Luxembourg are represented as follows : 

American 35 

Belgian 29 

British 30 

Dutch 8 

German and Austrian 11 

Italian 30 

Russian 4 

Scandinavian 17 

Spanish and Portuguese 10 

Swiss 6 

Turkish 2 

It will be noted that the American works purchased by the French. 
Government outnumber those of anv other countrv. 



MICHIGAN ARTISTS. 

Barlow, Myron Ionia 

Church, Frederick Stuart Grand Rapids 

Couse, E. Irving Saginaw 

Dabo, Leon Detroit 

Dabo, T. Scott Detroit 

Foote, William Howe Grand Rapids 

Frieseke, Frederic Carl Owosso 

Gies, Joseph W Detroit 

Horton, William Samuel Grand Rapids 

Ives, Percy Detroit 

Melchers, J. Gari Detroit 

Newell, George Glen Berrien County 

Parker, Lawton S Fairfield 

Paulus, Francis P Detroit 

Perrault, I. Marie Detroit 

Pitts, Lendall Detroit 

Rolshoven, Julius Detroit 

Smith, Letta Crapo Flint 

Wenzell, Albert B Detroit 

White, Thomas Gilbert Grand Rapids 

3 



1873 
1842 
1866 
1868 
1870 
1874 
1874 

1865 
1864 
1860 
1870 
1868 
1862 



1858 
1862 
1864 



18 



ABBKEVIATIONS. 

P. — painter; S. — sculptor; I. — illustrator; E. — etcher; Min. P. — Minia- 
ture painter; W. C. — water color. 

Am M. — American magazine 

Arch rec — Architectural record 

Art & P. — Art and progress 

Arts & D. — Arts and decoration 

Bookm — Bookman 

Brush & P. — Brush and pencil 

Canad M — Canadian magazine 

Cent — Century. 

Chant — Chatauquan 

Cosmopol — Cosmopolitan 

Cnr lit — Current literature 

Delin — Delineator 

Good H — Good housekeeping 

Harp — Harper's monthly magazine 

Ind — Independent 

Int studio — International studio 

Mo illus — Monthly illustrator 

New Eng M — New England magazine 

No Am — North American review 

Olitl— Outlook 

Pub opin — Public opinion 

Quar illus — Quarterly illustrator 

R of Rs — Review of reviews 

Scrib M — Scribner's magazine 

W work — World's work 



BIOGRAPHICAL SKETCHES 




Copyright by J. E. Purdy, Boston. 

EDWIN AUSTIN ABBEY 



BIOGRAPHICAL SKETCHES. 

Abbey^ Edwin Austin, (P., I., Mural P.) b. Philadelphia, Pa., April 
1, 1852; d. London, England, August 1, 1911. At the age of four he 
produced pen sketches worthy of more than passing attention and when 
not more than fourteen, Harper accepted some of his pen illustrations. 
He studied a year in the Pennsylvania Academy of the Fine Arts and 
in 1871, went to Kew York, where he joined Harper's art staff. In 1878 
he was sent by that publishing house to England to gather material to 
illustrate Herrick'S poems. His first painting in oil, ''May day morn," 
was exhibited at the Royal Academy, London, in 1890 and "Fiametta's 
song" in 1894. He was unexcelled by any living artist in rendering 
mediaeval subjects. His notable paintings in this line are "Richard III 
and Lady Anne," "Hamlet," "Trial of Queen Katherine," "The penance 
of Eleanor," "Daughters of King Lear," "Crusaders sighting Jerusalem," 
"Columbus in the new world." 

The series of decorations in the Boston Public Library embodying 
the story of the "Holy Grail" is the most popular wall-painting in 
America. Caffin says of these scenes : "They are presented with an 
archeological exactness of costume and accessories and with much dra- 
matic action and regard for individual characteriz(ation." 

In 1909 he was commissioned to paint the coronation scene of King 
Edward VII. This painting now hangs in Windsor Castle. He declined 
the invitation to paint the official picture of King George's coronation. 

Mr. Abbey was honored by membership in the leading art societies of 
Europe and America and received decorations from several European 
governments in recognition of his artistic ability. He had a marvelous 
technique, was an illustrator of the greatest power and originality and 
has been mentioned as one of the four greatest draughtsmen of the 19tli 
century. 

Of his brushwork, Henrj^ Strachey says: "He knows how to wield the 
magic of the brush so that his painting apart from its color or form is 
eloquent." 

At the time of his death he was engaged upon the commission from 
the state of Pennsylvania for decorative panels in the state capitol at 
Harrisburg; less than half of the work had been accomplished. 

Royal Cortissoz, the art critic, says : "He was very gay and likeable, 
you felt in him honesty and force and you could see just how his sterling 
nature poured itself into his work. In it he sought the truth, he wanted 



. 22 

to make it live; with all his strength and with all his conscience he 
strove for a reality that would touch men, making them think and feel. 
He achieved this aim and made his best monument in the decorations 
at Harrisburg." 

In a late number of the Craftsman, Louis A. Holman, closes an article 
on the late Mr. Abbey and his work as follows : ^'I feel confidient Abbey 
will hold his place as one of America's foremost colorists, as one of her 
rarest draughtsmen, as the most poetic painter of mediaeval subjects in 
his time and as the greatest illustrator that America has yet produced." 

Adams^ HeiRbert^ (S.) b. West Concord, Vt., January 28, 1858. He 
studied sculpture five years under Mercie, Paris. On his return to the 
United States in 1890, he engaged as art instructor in the Pratt Institute, 
Brooklyn, N. Y., where for eight years he criticised the modeling. Mr. 
Adams is a member of the Society of American Artists and vice presi- 
dent of the National Academy of Design. Associate member National 
Academy of Design, 1898; full member, 1899. 

Hartmann says : "The best bust ever made in America is, in my 
opinion, Herbert Adams' bust of his wife." 

Taft in his ''History of American sculpture," says : "'In Mr. Herbert 
Adams, the whole fraternity recognizes a master almost unequaled in a 
certain form of sculpture as rare as it is exquisite — the creation of 

beautiful busts of women There is nothing so distinctive in his 

figures of men." 

Mr. Adams' experiments in coloring his busts are exceedingly inter- 
esting. He has shown a beautiful color bust of "St. Agnes," a "Portrait 
of a young lady" in tinted marble in bronze decorations, and the "Rabbi's 
daughter" in pink marble, with dress and ample wide spread sleeves in 
wood with gold decorations. "It is in his choice and treatment of these 
heads that Mr. Adams reveals his true personality." (Lorado Taft.) 

In his love of details he is closely akin to M. Dampt and M. Riviere- 
Theodore, the French sculptors. 

His latest work is a group which surmounts the fountain in McMillan 
Park, Washington, D. C, erected by citizens of Michigan in honor of the 
late James McMillan, U. S. Senator from Michigan. 

Ahrens^ Ellein Wetherald^ (Min. P., I.) b. Baltimore, Md., June 6, 
1859. Pupil Boston Museum of Fine Arts under Grundemann ; Pennsyl- 
vania Academy of the Fine Arts under Eakins; Drexel Institute under 
Pyle. 

Received second Toppan prize School of Pennsylvania Academy of 
the Fine Arts, 1884, and other prizes for oil painting and miniatures. 

AiD^ George Charles^ (Min. P.) b. Quincy, 111. A pupil of Laurens 



23 

and Benjamin-Constant in Paris. Received silver medal at St. Louis 
Exposition, 1904. A member of the Paris American Artists Association 
and the American Miniature Painters. 

AiTKEN^ Robert I., (S) b. San Francisco, California, May 8, 1878, 
Pupil of Mark Hopkins Institute, San Francisco. Won the Bamett 
prize of the National Academy of Design, 1908. He is a member of the 
National Sculpture Society and recently has been elected a member of 
the National Academy. 

Mr. Aitken began his art work by painting. After studying sculpture 
for six months under a French master, he decided to work alone. Later 
he went to Paris. His monuments to the navy and to President Mc> 
Kinlev are among the finest works of art in San Francisco. He has com- 
pleted a statute of the late Frederic Remington to be placed at the new 
station of the Boston, Westchester & N. Y. R. R., which runs through 
the Remington property at New Rochelle, N. Y. (American Club Woman, 
Nov., 1912.) 

His busts are said to possess evidence of perception of character and 
of subtle discernment. Those most characteristic are, 

George Bellows; 

Willard Metcalf; 

Prof. Nathaniel Shaler; 

Henry Arthur Jones, playwright; 

John W. Gates, financier. 

"That he possesses those subtle qualities distinguishing the genuine 
portraitist becomes more and more apparent from close study of his 
busts." (Overl 60:108.) 

Mr. Aitkin's latest and most ambitious undertaking is for the Panama- 
Pacific Exposition. For the Court of Honor he has evolved four heroic 
figures typifying the elements — Fire, Air, Water, Earth. His Court of 
the Universe is of elaborate and complicated symbolism. ^'He has in- 
jected much personal charm, shown the grandeur of life, along with the 
physical perfection of man and womanhood in their alluring quality of 
youth, and the figures pulsate with life." (Int. studio 54 :xv) 

Alexander^ John White^ (P., Mural P) b. Allegheny, Pa., October T. 
1856, d. New York, May 31, 1915. A pupil of Prof. Benczur of the Royal 
Academy, Munich, and of Frank Duveneck in Munich, Venice and Flor- 
ence. He has been awarded many medals and won much distinctioti at 
home and abroad; was elected chevalier of the Legion of Honor, 1901; 
is a. member of Society Nationale des Beaux Arts, Paris, Munich Seces- 
sionists, International Society of Artists, London, and Vienna Society 
of Painters; president of the National Society of Mural Painters; asso- 




JOHN WHITE ALEXANDER. 



25 

ciate member of National Academy of Design, 1901; full member, 1902, 
and later president. 

Mr. Alexander is a painter of portraits, of mural decorations and of 
many figure pictures with a distinct decor atiye purpose. His "Woman 
in gray" handgs in the Luxembourg; ''The green bow" and ''The picnic" 
liaye also been purchased by the French goyernment. His ''Pot of basil" 
reyeals his talent for ideal figure subjects. Of his ''Sunlight" which was 
awarded first-class medal at the 1911 spring exhibition of the Carnegie 
Institute, it Ayas said : "For grace of lines, relatiye beauty of color and 
tone, and illusion of light — sheer necromancy of the painter — this work 
is without a peer in the exhibition." 

Other characteristic pictures are : 

"The mirror" "A butterfly" 

"Woman in pink" "A rose" 

"Flowers" ''Pandora" 

"The piano" "Quiet hour" 

"A summer day" "In the cafe" 

"A ray of sunlight" "A little mother" 

"Peonies" "Study in black and white" 

"The blue bowl" "The ring" 

"Memories" "Autumn" 

"Tenth muse" "A meadow flower" 

"A toiler" "The gossip" 

His artistic instinct is decoratiye, but his portraits of Mrs. Alexander, 
August Kodin, Walt Whitman, Prof. Chandler of Columbia, Mrs. Whea- 
ton and others, show he can also master character. 

Armand Dayot, the French critic, says : "From simply caressing the 
canyas, his brush has become penetrating and the pictures he now shows 
us possess — and this we consider the highest praise that can be bestowed 
upon his talent — not only the charm of life but also an intensity of 
thought." 

"He sees, as did Constable, only the beautiful, and the beautiful life 
is normal." 

His mural paintings, "Apotheosis of Pittsburg" in the Carnegie Insti- 
tute, and "The eyolution of the book" in the Library of Congress (both 
represent the glorification of labor) are among the noteworthy achieye- 
ments of this branch of art in America. 

His combination of piquancy of form and piquancy of color is known 
as the "Alexander liquid style." "This liquidity is simply music ex- 
pressed in terms of painting." With Mr. Alexander the real subject is 
a pictorial harmony based on the human form. (Outl. 95:171.) 



26 

''The distinguishing traits of Mr. John W. Alexander as a painter of 
portraits are quality of line, candor of impression and novelty of tone." 
(Harrison S. Morris, Scrib. 25:340.) 

Allston^ Washington^ (P.) b. Waccamaw, S. O., November 5, 1779; d. 
Cambridge, Mass., July 9, 1843. At six years of age his favorite amuse- 
ment was making little landscapes about the roots of an old tree near 
his home. In 1800 he graduated from Harvard and in company with Ed- 
ward Green Malbone soon after went to London where through the assist- 
ance of Benjamin West, who Avas then president of the Royal Academy, 
he studied at that school. In 1804 he visited Paris and spent four years 
in Ronie where he obtained the name of the ''American Titian." 

His first work of importance, "The dead man revived" gained a prize 
of 200 guineas from the British Institute and was purchased by the 
Pennsylvania Academy of the Fine Arts. This was followed by "St. 
Peter liberated by the angel," "Uriel and the sun," "Jacob's dream" 
and several smaller pictures which are in private galleries in England. 

In 1818 he opened a studio in Boston and spent the remainder of his 
life in his native country. The most choice of his works were done after 
he returned to the United States, and are now in Boston. His wonder- 
ful wealth of color was his great distinction. 

Allston's reputation as a poet and novelist was second only to that he 
enjoyed as a painter. 

Anschutz^ Thomas Pollock^ (P.) b. Newport, K}^, October 5, 1851; d. 
Fort Washington, Pa., June 16, 1912. He studied art at the National 
Academy of Design, New York, and at the Pennsylvania Academy of the 
Fine Arts, Philadelphia ; also with Doucet and Bouguereau in Paris ; was 
a member of the faculty of the Pennsylvania Academy of the Fine 
Arts, and had served the institution for an uninterrupted period of 
thirty-two years. He received medals and prizes for his canvases shown 
in competitive exhibitions and was the painter of the popular Sketch 
Club portraits which form the artistic frieze of the club room in Phila- 
delphia. 

Mr. Anschutz painted in pastels, water color and oils but devoted his 
time mainly to teaching. As a teacher his popularity was almost with- 
out precedent. The Pennsylvania Academy of the Fine Arts owns two 
of his finest works : "The Tanagra" and "Becky Sharp." 

Armstrong^ D. Maitland, (P., Stained glass designer,) b. Newburg, N. 
Y., June 12, 1836. He graduated at Trinity College, Hartford, Conn., 
1858; practiced law a few years; studied art in Paris and Rome; was 
United States consul to Italy ; director American Art Department, Paris 
Exposition, 1878; member of the Society of American Artists, 1879; also 



27 

a Architectural League. Associate member National Academy, 1906; 
also a chevalier of the Legon of Honor of France. 

Mr. Armstrong is now a professional decorative artist, specializing in 
stained glass work. The round dome of opal and amber glass, also the 
side windows of the court room in the New York appellate court building 
are his work, and rank with the best in this line of art produced in 
America. 

Backer^ Otto> (E.) b. Cleveland, O., March 31, 1856; d. Lawrence 
Park Bronxville, N. Y., August 16, 1909. Began his career as an art 
student in 1874. In September, 1874, he went abroad and spent some 
time at Munich, from there he went to Venice with Mr. Duveneck and 
his band of pupils. His first experiments in etching were made in 1876, 
and were not successful. He established himself in Europe and again 
took up the work in 1879, this time with success. 

Member of Society of Painter-Etchers, London; associate member of 
National Academy of Design, 1906. 

His first etchings were mostly of picturesque German villages and 
bits; but later works portray the beauties of Venice. 

He has produced a large plate of Milan cathedral; one of the interior 
of Saint Marks and another of the Grand canal, Venice. 

Mr. Bacher was one of our ablest etchers. Sir Seymour Haden said 
that his series of Venetian etchings evinced a strong artistic feeling and 
was characterized by ^'bold and painter-like treatment." The London 
Times speaks of him as "a. most formidable rival of Whistler." 

Knaufft says ^'Celebrated as an etcher, draws landscape in pen and ink 
that nearly equals his etching, and he is unsurpassed in pen renderings 
of still life." 

"Unlike Mr. Duveneck, he dwells more upon the human than upon the 
architectural elements in the Venetian panorama. His most character- 
istic plates show work people of the sea-city at their labors, show lace- 
makers and bead stringers and washerwomen, either in some dim interior 
or in some sunny courtyard, or under some shadowy archway by the 
water." 

Baer^ Wilmam J. (Min. P.) b. Cincinnati, O., January 29, 1860, Pupil 
of Loefftz in Munich Koyal Academy. The history of miniature-painting 
of the present generation in this country began with the work done in 
this field by Miss Laura C. Hills and Mr. William J. Baer, both of whom 
were inspired by a love of small things, and admiration for the paintings 
of the old masters which is more or less reflected in their work. There 
was a revival of a demand for portraits on ivory and in 1899 the Ameri- 
can Society of Miniature Painters, Avas founded. 

In Mr. Baer's "Primavera" he combines many of the best qualities of 



28 

a good oil paintiug with a luminosity and brilliancy of texture only to 
be achieved on ivory. This and such productions as his ''Golden hours" 
will no doubt in time rank with the best work of Malbone, while his only 
rivals in portraiture today are Josephi, Miss Beckington and the late 
Theodora W. Thayer. (Int. studio 33 :c.) 

''In his ideal pictures, such as ''A girl with a rabbit" he accomplishes 
much of his best work. (Critic 47:522.) 

His flesh tints are exquisite. 

He has chosen to erect a very high standard in miniature painting. 

At a recent exhibition of the American Societj- of Miniature Painters, 
"Mr. Baer showed one large ivory — a full-length female figure, entitled 
"Egeria" painted in richer, heavier colors than is his custom, also four 
small portraits done in his usual masterly style. The likeness of Mrs. 
William Arrindell Shearson in lavender and white lace revealed his skill 
in exquisite finish and delicacy of touch." (Int. studio 43 :sup. xxi.) 

Baker^ Elizabeth Gowdy^ (P. Min. P.) b. Xenia, O., 1860. A pupil 
of the Cooper Union, Art Student's League of New York, New York 
School of Art, Pennsylvania Academy of the Fine Arts, Cowles Art 
School, Boston; under Frederick Freer, William M. Chase and H. Sid- 
dons Mowbray. 

Received medal at Cooper Union; is a member of the Boston Art Stu- 
dents' Association and Art Workers Club for Women, New York. 

Mrs. Baker's specialty is portraits in water-color. She is especially 
successful with pictures of children. 

In her work she uses a heavy imported paper and claims that her 
method enables her to get the strength of oil with the daintiness of 
w^ater-colors. 

Mrs. Baker rarely exhibits and her portraits are in private homes. 

Baker^ Ellein Keindall^ (Mrs. Harry Thompson), (P.) b. Fairfield, 
N. Y. ; d. December 4, 1913 at her home. The Croft, Chalf ant, St. Giles, 
England at the age of 74 years. Studied in Paris under Charles Miiller, 
Paul Soyer, and Harry Thompson, an English artist, whom she married 
in 1896. 

Mrs. Thompson has exhibited in the Paris salons since 1879, also at 
Munich, St. Petersburg, New Nork, Philadelphia, Chicago and Detroit, 
and is represented in Buff'alo, Detroit and Minneapolis. 

A characteristic painting ''The young artist," was exhibited in the 
Paris salon of 1885, and is now owned by the Detroit Museum of Art. 

Bakeir^ Martha Susan, (Min. P.) b. Evansville, Ind., December 25. 1871. 
A pupil of the Chicago Art Institute, she won the Municipal Art League 
Purchase prize, 1895 ; first prize for miniature in the Arche salon Chiea- 



29 

go, 1897; bronze medal for miniature painting at St. Lonis Exposition 
1904; silver medal Art Institute, Chicago, 1905, and received honorable 
mention for oil painting at the Carnegie Institute, Pittsburgh, 1904. 
A well-known writer in a review of her work, says : ''Her subsequent pro- 
gress has been as steadj^ and brilliant as it has been well-deserved." 
She is now instructor both in the Art Institute and at the Academy of 
Fine Arts. She was one of the four Chicago artists represented at the 
Paris Exposition in 1900. 

At the 12th annual exhibition of the American Society of Miniature 
Painters, she exhibited a large composition entitled "Springtime" — a 
nude child playing with chrysanthemums on the floor. This showed the 
artist's ability to cope successfully with a difficult subject and also re- 
tain the fine proportions of her material. Two small heads were also 
exhibited — "Master Gifford Ewing" and "Miss Marion Tooker" painted 
against pure ivory background. Although less ambitious, these minia- 
tures were more representative of Miss Baker's gift for strong penetra- 
tion of character and showed her individual technique. 

She has also done some mural work — decorations in the hall of the 
Pine Arts Building, Chicago. 

A gem in water-colors is her "Lake front — Chicago." 

"Her style is characterized by an almost masculine force and direct- 
ness, a naive obedience to truth and a delightful simplicity. Her knowl- 
edge of form is ably expressed in her unerring draughtmanship." (Int. 
studio 21:85.) 

Ball. Thomas, (S.) b. Charleston, Mass., June 3, 1819; d. December 11, 
1911. His first studies were devoted to portrait painting and his most 
celebrated painting is a full length portrait of Daniel Webster. He also 
painted several scripture subjects which were highly praised for fine 
coloring. 

Among his first works in sculpture was a small bust of Jenny Lind. 
After studying in Europe he returned to America and made busts of 
Kufus Choate, statuettes of Webster and Clay and the equestrian statue 
of Washington for Boston. Mr. Ball returned to- Florence, Italy, in 1865 
where he resided until 1897. His works considered his best are the colos- 
sal Webster in Central Park, New York, Edwin Forrest as "Coriolanus" 
in Philadelphia, Governor John A. Andrews of Massachusetts in Boston 
and the group "Emancipation" in Washington, D. C. 

As a musician, Mr. Ball ranked high and for years was known as a 
famous baritone singer. During his early struggles in art he supported 
himself entirely by his musical talents. 

Ballin, Hugo, (Mural P.) b. New York City, 1879. His father was a 
manufacturer but his grandfather had been a court artist and very 



30 

early he was encouraged to take up painting. After studying at the 
Art Students' League of New York, he went abroad to continue his art 
studies in Italy. While there he was privileged to travel with Robert 
Blum and to study with him the mural decorations in Lombardy and 
Umbria. Since his return to the United States he has won many medals 
and prizes. He is a member of the Society of American Artists and an 
associate member National Academy of Design, 1906. His works have 
been reproduced in the Critic, Century and International studio. 

In writing of his art, H. St. G. (Critic 47:497) says: "Though in 
theory Ballin lays greater stress on color and composition than on draw- 
ing in decorative Avork, yet for the most part in practice he applies his 

skill as a draftsman to aid in conveying his musef ul conceptions 

His drawing discloses in place of assertion an elusiveness and insinua- 
tion of contour. The fluency of his lines and the masses of his broad and 
simple drapery never becomes angular or extravagant or pale." 

Barlow^ Myron^ (P.) b. Ionia, Michigan, 1873. A pupil of the Art 
Institute, Chicago; G^rome and Ecole des Beaux Arts in Paris. He re- 
ceived his first medal in 1894 Avhen he exhibited at the Academic Cola- 
rossi; and when elected a member of the Society Nationale des Beaux 
Arts in 1907 he was the only American to receive the honor at that 
time. He is a member of the Paris American Artists Association. 

One of his salon pictures, "The fisherman's pride" has brought Mr. Bar- 
low much favorable comment. 

Lena M. McCauley in writing of the twenty-third exhibition of the 
Chicago Art Institute (Art and Progress 2:49), says: "The blue-toned 
interiors with figures — "Fatigue," "A chat," and "Embarrassing ques- 
tion," — by Myron Barlow, have been displayed with discriminating tact 
which permitted none of their delicacy to be lost. They are novelties in 
color but so harmonious and individual that they are a pleasure to look 
upon." 

E. A. Taylor in writing of American artists in Paris (Int. Studio 
46:290) says of Mr. Barlow's art: "To simplify an understanding of his 

art, I might say he paints the luxury of the poor Mr. Barlow 

designs his work; he is not a slave to nature ready-made; his work is 
always decorative, not decorated, and his color, broad and simple; 
though bright at times, it is never disturbing by a lack of harmony." 

"He claims to be one of the first in the art world to paint blue pic- 
tures. These are high in key, and his figures are generally placed against 
a very light or white background. Vermeer is the old master whose 
work he constantly studies." (Int. studio 54 :xxviii.) 

Mr. Barlow's home is at Etaples, France, where he finds his favorite 
subjects — the French peasants. 



31 

Barnard^ George Greiy^ (S) b. Belief onte, Pa., May 24, 1863. As a 
youth lie developed a taste for natural history; became familiar with 
birds and their habits and, self-taught, attained skill as a taxidermist. 
Apprenticed to a local jeweler, he became a skilled letterer and engraver. 
At the age of sixteen he went to Chicago and entered the Art Institute. 
With |350 which he was paid for a portrait bust, he went to Paris and 
studied in the Atelier Gavelier. After three years he took up a studio 
at Vaugirard, near the port of Versailles, where in 1885 he finished the 
"Boy" in marble and in 1887 began the "Brotherly love" for a Norwegian 
monument. He began the group called "Two natures" (suggested by a 
line from one of Victor Hugo's poems) in 1890, and put it into marble in 
1894. That year his work was exhibited in the salon of the Champs de 
Mars and he was immediately elected an associate of the Societe Na- 
tionale des Beaux Arts. 

The Figaro said : "Mr. Barnard is possessed of very great qualities, the 
first of which is the freshness of eternal youth." 

M. Thiebault-Sisson, art critic of the Temps, said : "We have a new- 
comer, George Grey Barnard, who possesses all the qualities of a great 
master." 

Mr. Barnard returned to the United States in 1896 and made a public 
display of his works in the Logerot Gardens, New York. His "Pan" 
placed in Central Park, New York, has been pronounced "one of the 
strongest and most original things yet done in sculpture." "The hewer" 
shows not only sculptural "bigness" but "reveals an unusual emphasis 
in the matter of straight lines and planes, which gives it remarkable 
carrying power." The "Rose maiden," a memorial figure, is a work in 
which a new and tender element has entered. "The figure is a poem of 
sweetness and mystery, and grows fragrant with the dew of spring." 

William A. Cofiin says : "He is an analyst in thought, and a synthesist 
in execution. His work shows decided psychological bent. He appar- 
ently cares more for force and vitality than for so-called beauty 

The splendid vigor and pure artistic power of his work entitle it to be 
received with enthusiasm." 

His latest triumph is his statues — two groups composed of more than 
thirty heroic figures — for the facade of the Pennsylvania capitol. 

Bartlett^ Paul Wayland^ (S.) b. New Haven, Conn., 1865. As a 
boy modeling in the garden of his home at Marly, France, he attracted 
the attention of the famous sculptor Fremiet who gave him instructions 
in his class in animal sculpture and drawing in the Jardin des Plantes 
in Paris. At the age of fourteen he exhibited in the salon a bust of his 
grandmother, and a year later he entered the Ecole des Beaux Arts ; at 
twenty-two his group "The Bohemian bear tamer" was shown in the 
salon. He did some remarkable things in bronze casting, and a collec- 



32 

tion of his bronzes was exhibited in the salon of 1895 and won for him 
honors. Later achievements occupy places of honor in the United States. 
In the reading room of the Library of Congress are three well-known 
statues by him — "Law," ^^Columbus" and "Michael Angelo." Of the last 
mentioned, the editor of "The artist," says : "One of the noblest modern 

statues in America is undoubtedly that of Michael Angelo by 

Paul Wayland Bartlett, in the Library of Congress." 

His "Dying lion" is a work of appealing strength and beauty. His 
statue of General Warren, the early martyr of the revolution, is at 
Koxbury. The "Death of Warren" in low relief on the pedestal, has 
been called "a funeral march in bronze." His equestrian statue of La- 
fayette, which the school children of the United States presented to 
Prance, stands in the court of the Tuileries, "the most coveted site in 
Paris." 

Carries, the French potter sculptor, says of him : "He reminds me of 
those artesans of the renaissance who had nothing but art in view and 
mind." (New England M. 33:369.) 

"Mr. Bartlett is primarily a sculptor of the specific. What he most 
delights in is the presentation of actual characters of history or of 
definite emotions." (Craftsman 16:437.) 

The French have showered upon this American sculptor nearly every 
honor in their gift; he was elected chevalier of the Legion of Honor at 
the age of thirty, since which time his works have been hors concours in 
the Paris salons. 

Baxter, Martpia Wheeler^ (Min. P., S.) b. Vermont, 1869. A pupil 
of the Pennsylvania Academy of the Fine Arts and the Art Students' 
League of New York under Mowbray, Cox, Beckwith and F. V. DuMond. 
Studied miniature painting under Mme. de Billemont-Chardon and Mile. 
Schmitt in Paris and Mme. Behenna in London. 

Keceived honorable mention at the Paris Exhibition of 1900. Is a 
teacher. 

Bayliss, Lillian, (Min. P.) Has received recognition as a miniature 
painter. Her ivory work of Madame Gabrielli displays a distinct power 

of characterization As a whole she produces results peculiar 

for a refinement, a simplicity of tone and surface and a dignity of the 
use of color. (Critic 47:527.) 

Beach, Chester (S.) b. San Francisco, CaL, 1881. Pupil of Verlet 
and Roland in Paris. Received Barnett prize N. A. D., 1909. Associate 
member National Academy, 1908 ; also member Paris American Artists 
Association and National Sculpture Society. 

Of his small bronzes, a critic writes : "His expression is symbolic to a 



33 

considerable degree and is the ontcome of a serious and thoughtful mind. 
His statuettes suggest beautiful pictures that direct themselves princi- 
pally to the imagination and by their gentle and graceful motion re- 
mind one of passages of music beautifully phrased and perfect in rhythm. 
(Arts. & D. 2 :106.) "Of the more purely imaginative sculpture, the larg- 
est and in some respects the most ambitious work in this exhibition 
(110th P. A. F. A.) was Chester Beach's "Unfolding of Life" — figures 
in white marble of about half life-size" (Scrib. M. 55:666.) 

Be^tty^ John W., (E) b. Pittsburgh, Pa., July 8, 1851. Director of 
Fine Arts, Carnegie Institute, Pittsburgh since 1896. Student of Munich 
Academy of Fine Arts. He was a member of the jury on painting for 
Pennsylvania and New York at Columbian Exposition, 1893, member 
National advisory board Paris Exposition, 1900, fine arts committee 
Pan-American Exposition, Buffalo, 1901, and National advisory commit- 
tee St. Louis Exposition, 1904. 

Executed the etching "Keturn to labor." His two well-known land- 
scapes are "Plymouth hills" and Chilton ville." Author: "An apprecia- 
tion of Augustus Saint-Gaudens." 

BEiAux^ Cecilia (P.) b. Philadelphia, Pa., 1863, and is of French de- 
scent. Mrs. Thomas A. Janvier gave her her first lessons in drawing; she 
was also a pupil of William Sartain and won general recognition as an 
able portrait painter. The first of her works to bring her fame was 

"Last days of infancy," which was exhibited at the Philadelphia Acad- 
emy in 1885, and won the prize for the best painting by a resident 
woman artist; she also won the same prize in 1887, 1891, 1892. Miss 
Beaux spent the winter of 1889-90 in Paris studying in the life classes 
of the Acad^mie Julien under Bouguereau, Eobert-Fleury and Benjamin- 
Constant; also at Colarossi's where her drawings were criticised by 
Courtois and Dagnan-Bouveret. Spending the summer at Concameau, 
she was aided by suggestions from Alexander Harrison and Charles 
Lasar. After a visit to Italy and England she returned to Philadelphia. 
In 1893 she won the gold medal of the Philadelphia Art Club for the 
portrait of Dr. Grier; also the Dodge prize of the National Academy 
of Design for her portrait of Mrs. Stetson. Miss Beaux was the seventh 
woman to whom the honor of an election to membership in the Society 
of American Artists was awarded. In 1894 she was elected associate of 
the National Academy of Design, being the third woman to gain admis- 
sion; elected full member in 1902. She is recognized here and abroad 
as the most distinguished of living women painters. 

To the salon of the Champs de Mars, Paris, 1896, she sent six paint- 
ings. These were hung in a group, an unusual distinction and brought 
5 



34 

to her an election as an associate of the Societe Nationale des Beaux 
Arts. (Nat. Cy. Am. Biog.) 

Her figures are usually represented in repose or at least in arrested 
action, but ^^Dorothea and Prancesca" shows her power of rendering mo- 
tions with equal success. Her portrait of Mrs. Roosevelt is one of her 
happiest creations. "The dreamer," ''New England woman," ''Sita and 
Sarita," "The Cynthia," "Ernesta and her little brother," are all por- 
traits. Miss Beaux's portraits are never composite; they are not in any 
sense tj^pes. Her individuality is developed in two characteristics : 
brilliancy and refinement. (Int. studio 41:337.) 

Her "Banner bearer" is referred to as "a work of compelling strength 
and convincing simplicity — a work utterly without mannerism." 

Giles Edgerton says : "It is not once in a generation that a woman so 
subverts her essentially characteristic outlook on life to her work that 
her art impulse becomes universal as that of the greatest men often is. 
One feels that Cecilia Beaux has done this in her portrait work, as 
George Eliot did in her stories." 

Beickington, Alicei, (Min. P.) b. St. Charles, Mo., July 30, 1868. A 
pupil of Art Students' League, New York ; Lefebvre, Benjamin-Constant 
and Lazar, Paris. 

She received honorable mention Pan-American Ex. Buffalo, 1901; 
bronze medal St. Louis Ex. 1904; is a member of N. Y. Woman's Art 
Club, also American Society Miniature Painters. Instructor at Art 
Students' League, New York. 

Miss Beckington's work reveals a feeling for the impressionistic and a 
charming application of it. The portrait of Mrs. Buford is the best 
example of her work. 

"She treats her sitters with a clear directness and absence of non- 
sense, selecting and refining her essentials with sanity and taste 

Her portraits increase steadily in naturalness and an unwavering yet 
delicate definition of facial character. (Critic. 47:525.) 

Beckwith^ Jameis Carroll,^ (P.) b. Hannibal, Mo., September 23, 
1852. Studied painting in Chicago where his father was a merchant. 
Began his art studies in 1868 under Walter Shirlaw and in 1873 entered 
the studio of Carolus-Duran, subsequently studying at the Ecole des 
Beaux Arts. Returned to the United States in 1878, opened a studio 
in New York and began his profession as a portrait painter. He was 
at once elected an instructor in the Art Students' League. Became an 
associate member of the National Academy, 1886 ; academician, 1894. 

Mr. Beckwith received honorable mention in the Paris salon of 1887, 
and has painted portraits of many distinguished residents of New York. 
His works are always signed "Carroll Beckwith." 




J. CARROLL BECKWITH. 



35 

At the Paris Exhibition in 1878, he exhibited "The falconer" painted 
when he was only twentj-five years old. His portrait of Mrs. R. H. 
McCurdy, shown at the Academy Exhibition of 1879, gave him a definite 
position among the painters of New York ; that of Captain Joseph Lentil- 
hon, exhibited in the Paris salon of 1887 and at the Universal Exposi- 
tion of 1889, received awards in both cases. His picture "The authoress" 
has been called a modern Mona Lisa. In "A baptism at Onteora" all 
the figures are portraits, and the artist and his wife are viewing the 
procession from the shadow of the chimney to the right. 

Mr. Beckwith's skill in figure drawing is shown in the following : 

"La Cigale" "Under the lilacs" 

"The nautilus" "The Christian martyr" 

"Danse antique" "Mother and child" 

"The awakening" "The blacksmith" 

"The falconer" "Judith" 
"Azalia" 

"Mr. Beckwith's work is distinguished by a breadth of style and an 
unerring grace which is rarely met with outside of continental schools." 
(American artists.) 

Belcher, Hilda, (P.) b. Pittsford, Vermont. Studied at the New 
York School of Art. 

The International studio (46:237) writes of her "Little Boston girl": 
It is one of those delightful portrayals of the ingenuous child charac- 
ter that are always acceptable as subjects of the painter's analytical 
study. 

A few of her best paintings are : 

"Sibyl" "Unrepentant" 

"The checkered dress" "Young girl in white" 

"Portrait of Miss P" "The old ladies" 

"The mother" "Fellow traveler" 

"Bed mitts" "Listening" 

"Speculation" "The fairy book" 
"Auburn and white" 

Bellows^ George Wesley^ (P) b. Columbus, O., August 12, 1882. A. 
B. Ohio State University in 1905. Studied in New York School of Art 
under Eobert Henri. Exhibited at International Exposition, Venice; 
Royal Academy, Berlin; Royal Society, Munich; Kensington Museum, 
London; and in principal cities of the United States. Elected an asso- 
ciate member of the National Academv in 1908. 



36 

Mr. Bellows is one of the modern impressionists. He shows a liking 
for the sharp contrasts of snow and water, snow and houses and snow 
and distant hills. An example of his work is ^'The Palisades'" snow- 
covered. 

Critics compare this snowcapist to the old painters of Holland. 

His '^Polo game" and ^'Foot-ball game" are extraordinary examples 
of action in art — full of strength and power as well as action. 

"Blackwell's bridge" is a well-known painting of his. 



Benson^ Frank Weston^ (P. Mural P.) b. Salem, Mass., March 24, 
1862. Studied art at the Boston Museum of Fine Arts, also under Bou- 
langer and Lefebvre in Paris. He has been the recipient of a remarkable 
number of artistic distinctions, the chief significance of which is that 
they have been awarded by the artistic profession. Is a member of Ten 
American Painters. Since 1892 he has been instructor in drawing in 
the Boston Museum of Fine Arts. Was elected to full membership in 
the National Academy in 1905. His list of honors and prizes received 
is a long one. He has also won distinction by his sympathetic and under- 
standing interpretation of child life. 

Open-air work is the most familiar side of Benson's art, and figure 
subjects in the open air have made him a student of the sea as well as 
landscape, and especially of both viewed under the effect of sunlight. 

"Against the sky," which Mr. Benson considers one of the best things 
that he has ever done, like "Eleanor," has the quality of freedom for 
which the "Ten" seceded. His "Moonlight at sea" has all the beauty of 
romance and technique. 'Summer" is one of his most successful decora- 
tive paintings. 

A few of his representative canvases are: 



"Orpheus" 
"Winter storm" 
"Girl with veil" 
"Portrait of three sisters" 
"In an old garden" 
"Woman reading" 
"The hill top" 
"Summer afternoon" 



"My little girl" 

"Lamplight" 

"Girl with black hat" 

"Calm morning" 

"Girl playing solitaire" 

"In the spruce trees" 

"Portrait in white" (his wife.) 



"The note of Frank Weston Benson's work in painting is a sustained 
and spontaneous gaiety, which is expressed through beautifully cheerful 
color, in a style combining animation with refinement. He set before 
us visions of the free life in the open air, with figures of gracious women 
and lovely children, in a landscape drenched in sweet sunlight and cooled 



37 

by refreshing sea breezes. The purity and charm of the sentiment match 
the purity and charm of the color/' (Arts & D. 1:195.) 

Mr. Benson's paintings (apart from his portraits) have much shimmer- 
ing color and radiance of light, a subtle effect of seeking the decorative 
in nature herself." (Int. studio 35:xcix.) 

His paintings of women have something of the sweetness of the old- 
fashioned ideals of high-bred feminine grace and loveliness, with the 
breadth and looseness of the modern style of workmanship. His pic- 
tures have the refinement of the 18th century English female types with 
the freedom and vivacity of the 19th century American girl." (Brush 
& P. 6:145.) 

Mr. Benson's touch is light and there is a painter-like quality in all 
his work which lends potency to interest as well as to charm. 

His work is broad, simple and direct; he uses clear, fresh color and 
selects almost invariably very agreeable subjects." (Art & P. 4.) 

Mr. Benson has also done mural painting, "The graces" and "The 
seasons" in the Library of Congress, being his work. 

BiERSTADT, Albert^ (P) b. Diisseldorf, Germany, January, 7, 1830; d. 
New York, February 18, 1902. 

When one year old he was taken to New Bedford where his youth was 
spent. At twenty-four he returned to his native town in Germany and 
studied art under Lessing for four years, and in Rome for one year, 
making summer sketching tours to Switzerland. He returned to the 
United States in 1859 but made frequent trips to Europe. In 1857 ac- 
companied General F. W. Lander's expedition to the Rocky Mountains 
and collected material for his most important pictures. 

"Settlement of California by the Spanish priest. Father Junipero 
Serra" and "The discovery of the Hudson river" in the Capitol at Wash- 
ington, "View on the Kern river" and "Sunset among the Sierra Nevada 
mountains" in the Hermitage, St. Petersburg, "Great trees of California" 
in the Imperial palace, Berlin, "Estes Park" owned by the earl of Dun- 
raven, "Laramie Peak" in the Academy of Fine Arts, Buffalo, and "A 
mountain peak" in the Corcoran gallery at Washington, are among some 
of his best known works. 

Tuckerman says : "No more genuine and grand American work has 
been produced than Bierstadt's "Rocky mountains." 

Medals were awarded to him in Austria, Germany, Bavaria and Bel- 
gium. He was made a chevalier of the Legion of Honor of France, re- 
ceived the order of St. Stanislaus of Russia and the Imperial order of 
the Madjidi from the sultan of Turkey. Mr. Bierstadt was elected mem- 
of the National Academy of Design, 1860. 



38 

BiRCH^ Keginald Bathurst, (I.) b. London, England, May 2, 1856; 
came to the United States at the age of sixteen; later studied art in 
Munich and Italy. He has drawn much with the pen, mostly for "St. 
Nicholas," and may, indeed be called the ''Children's Gibson." Illustrated 
"Little Lord Fauntleroy/' "Lady Jane," and "The story of Betty." 

Mr. Birch is the illustrator par excellence for children's stories and 
fairy tales. His line is graceful and his use of blacks exceedingly skilful. 

BiSBiNG^ H. Singleton^ (P.) — American cattle painter — b. Philadel- 
phia, Pa., January 31, 1849. Began his artistic career by studying wood- 
engraving. In 1872 he was employed on Appleton's Art Journal. He 
entered upon a course of study under Profs. Barth and Loefftz at Munich 
in 1876 and three years later became a pupil of J. H. L. deHaas, the 
celebrated animal painter of Brussels. In 1884 he removed to Paris 
where he continued his studies under Felix du Yuillefroy, also a noted 
animal painter. 

His pictures, mostly animal subjects, have been exhibited at the Paris 
salon. 

He received third-class medal at Paris salon in 1891; Temple gold 
medal at the exhibition of Pennsylvania Academy of Fine Arts in 1892, 
and was made a chevalier of the Legion of Honor of France in 1902. 

His works are in Pennsylvania Academy of the Fine Arts, Philadel- 
phia, Berlin National Gallery and in private collection of royal family 
of Saxony. Mr. Bisbing is a member of the Paris Society of American 
Painters and his paintings are hors concours at the Paris salon. 

"Bisbing paints large landscapes, saturated by light and air, with cows 
somnolently resting in the sun." (Miither.) 

BiTTEiR^ Karl Theodorb, (S.) b. Vienna, Austria, December 6, 1867; 
d. New York City April 10, 1915, of injuries received when he was run 
down by an automobile. Studied art in the Vienna Academy of Fine 
Arts. From the age of sixteen he made efforts to come to America but 
did not receive the consent of his parents until 1889 when he sailed for 
New York. The first year in New York, unknown and practicall}- friend- 
less, he won in competition the order for one of the Astor memorial gates, 
of Trinity Church. 

Mr. Bitter was connected with the Columbian Exposition as a decora- 
tor, with the Pan-American and St. Louis expositions as official director 
of sculpture, and with the Panama-Pacific as chief of the department of 
sculpture. 

Of his "Standard bearers" in heroic size (a personal contribution to 
the Pan-American Exposition), Lorado Taft says: "They were the finest 
things ever devised for any exposition." His ^^T'iHard memorial" and 
"Hubbard memorial" "are beautifullv modeled and have about then an 



39 



atmosphere of poetic gravity quite unfamiliar in Mr. Bitter's sculpture.'' 
His bust of Dr. Pepper, provost of the University of Pennsylvania, is a 
gratifying success and shows beyond its admirable Avorkmanship a subtle 
union of kindliness and reserve which makes it a convincing expression 
of individuality." 

Among Mr. Bitter's works are many figures and figure reliefs for the 
residences of the Vanderbilts, C. P. Huntington, John Jacob Astor and 
others. More numerous are his decorations for public buildings, libraries, 
churches, stores, etc. Notable are the enormous reliefs for the Broad 
street station of the Pennsylvania Railroad at Philadelphia. His groups 
of children are happy ideas for small fountains. 

He was elected an associate member of the National Academy of De- 
sign, New York, in 1902 ; academician, 1903 and was a member of the 
National Sculpture Society, New York Arch. League and Society of 
American Artists. 

Mr. Bitter's statue of Thomas Jefferson for the University of Vir- 
ginia was unveiled a few days after his death. He was to have been the 
guest of honor at the ceremonies. His last work was the Hendrik Hud- 
son statue to be placed on Spuyten Duyvil Hill. 

Blakelock, Ralph Albert, (P.) b. New York, October 15, 1847. The 
son of a physician he was educated with a view to adopting his father's 
profession but he was naturally gifted in the line of music and painting 
and the science and practice of medicine did not attract him. Renounc- 
ing the career of a physician and resolving to lake up the profession of 
painting, with no art training whatever, without guidance or assistance, 
he opened a studio in New York. The story of his life is a pitiful one — 
one of the saddest in the history of American art. The hardships and 
privations which he endured unsettled his mind and he has been con- 
fined, in an insane asylum for several years. 

An exhibition of his paintings was held in New York in 1902, since 
which time public appreciation has been more just. 

Characteristic examples of his work are : 



"Moonrise" 

'^At nature's mirror" 

"Solitude" 

"Sunset, Nevarra Ridge" 

"The mountain brook" 

"Sunset off the coast" 

"Sunset through the wood" 

"Morning" 

"Moonlight" 

"Cool wooded shades" 

"The oak tree" 



"October sunshine" 
"Redwoods, California" 
"Indian girl, Uinta tribe" 
"Navajo blanket makers" 
"Indian fisherman" 
"Bannoch wigwam in peaceful 

vale" 
"The captive" 
"The canoe builder" 
"Abode of the stately deer" 
"Story of the buffalo hunt" 



40 

"Blakelock's canvases are little less than a revelation of his wide range 

of expression and of his varying moods They include peaceful 

and poetical pastorals, sunsets glowing even to the point of the garish, 
moonlight suffused with a bewitching silvery sheen, landscapes in which 
there is no suggestion of human life, Indian groups for which the land- 
scape serves but as a setting .... The canvases convey the impression 
of a strong poetic temperament dominated with a moodiness which 
struggles with and finally extinguishes free, glad, artistic expression. 

"He was essentially a colorist, and the peculiar charm of his work lies 
in the fact that he had the audacity to attempt and the ability to obtain 

tonal effects that at once stamped his canvasses as remarkable. 

It has been said of him that he stands quite alone among American 
artists as an original creative genius whose endowment was unusually 
artistic and whose sense of the beautiful was peculiarly acute." (Brush 
& P. 9:257.) 

"It is then a sentiment or an emotion that Blakelock conveys, rather 
than beauty of form or harmony of color, rather than idea or story. 
But his sentiment or emotion does not appear to be one of the common 
sentiments or emotions. It is not that he makes us melancholy or cheer- 
ful; it is something different, something elusive, something that we call 

romantic His world is suggested by reality but it is his own. 

It is a painter's world and to come to it you must come by the painter's 
way." (Edward E. Hale in Dial 57:384.) 

Blashfieild^ Edwin Howland^ (P. Mural P., I.) b. New York, Decem- 
ber 15, 1848. Was educated in Boston Latin School. Studied in Paris, 
1867, under Leon Bonnat, also received advice from Gerome and Chapu. 
Exhibited at the Paris salon 1874-9, 1881, 1891, 1892; also several years 
at Royal Academy, London. Returned to the United States 1881. A 
member of the National Academy of Design, New York, since 1888. 
President National Society of Mural Painters. He has exhibited genre 
pictures, portraits and decorations and lectured on art at Columbia, 
Harvard and Yale and in prominent cities of the United States, his 
lecture on "Municipal art" being regarded one of the best lectures on 
art ever given in this country. 

In collaboration with his wife he prepared numerous illustrated ar- 
ticles for Scribner, Century and other leading magazines on subjects con- 
nected with mediaeval or renaissance art, or noted places of the old 
world. Among the most noteworthy and interesting of these may be 
mentioned: "With Romola in Florence," "The man at arms," "Castle 
life," "A day with a Florentine artist of the 15th century," "Ravenna 
and its mosaics," "The Paris of the musketeers," "Afloat on the Nile." 



41 

Most notable of his paintings are: "All souls day'' 

^'Christmas bells" "Inspiration" 

"The choir boys" "Young poet" 

"The angel of the flaming sword" "Toreador" 
"Spring time" 

Mr. Blashfield's strength lies in decorative .painting in which his draw- 
ing is as elegant as his color is fragile in tone. His best mural work is 
seen in the Library of Congress, Washington; court house, Baltimore 
and the Minnesota and Iowa state houses. He painted the design for 
the dome piece for the new state capitol at Madison, Wis., said to be 
the largest canvas ever painted in America, and the figure which typifies 
the state of Wisconsin is thirteen feet sitting, the largest figure ever 
painted. 

"In his art he demonstrates his understanding of drawing, elevated 
without losing strength, of refined felicitous light, of controlling unified 
tone, of the grace, sweetness and reticence in simple gesture and of the 
power in an organized whole." (Int. studio 35:lxix.) 

Blum^ Kobert Frederick^ (P., I., E., Mural P.) b. Cincinnati, O., 
July 9, 1857; d. New York, June 8, 1903. He was apprenticed in a litho- 
graphing shop in 1871 and attended night classes at McMicken Art 
School of Design, Cincinnati; studied nine months at the Pennsylvania 
Academy of the Fine Arts, Philadelphia; went to New York in 1879 
and made trips to Europe during the years 1880-89. In 1890 he accom- 
panied Sir Edwin Arnold to Japan in order to ilustrate his "Japonica." 

His "Lace makers" won a medal at the Paris Exposition in 1889 ; 
"Bead stringers" occasioned his election as an associate of the National 
Academy, and the exhibition of his "Ameya" ("Itinerant candy vender") 
brought him into full membership of the academy in 1893. At his elec- 
tion he was the youngest member of the association. 

Upon his return from Japan in 1892, after completing his Japanese 
drawings and paintings, he took up mural decoration and reached the 
highest perfection of art in the magnificent decorations in Mendelssohn 
Hall, New York, illustrating the "Moods of music." 

The charm of Blum's pictures lies in the execution rather than in the 
subjects which are chosen from every land except America. His "Itin- 
erant candy vender" in the Metropolitan Museum of New York is full of 
color, with exactitude of line and a charming sense of foreign parts. 
(Isham.) 

His pen drawings of Venice, dated 1880, have, in all the progress of 
that special art, never been excelled. 

"He paints Japanese street scenes full of sunlight and lustrous color." 
(Miither.) 



42 

A few Japanese pictures are : ''The bath" 

"Flower market, Tokio'' "Musse-nighf' 

''The geisha" "Siesta" 

"Cherry blossoms" "The terrace" 

While Mr. Blum's reputation as an illustrator and etcher was well es- 
tablished, it is probable that he will be longest remembered by his work 
as a colorist. 

Blumenschein^ Ernest Leonard^ (P., I.) b. Pittsburgh, Pa., May 26, 
1874. Pupil of Cincinnati Art Academy; Art Students' League of New 
York; Benjamin-Constant, Laurens and Collin of Paris. Member of 
Society of Illustrators and Paris American Artists Association. 

Illustrator for Century, Scribner's, McClure's, Harper's, American 
and other magazines and books; also portrait painter and teacher. 

BLUMBNscHEiiN^ Mary Shepard Greeos^^ (P., S.) (Mrs. E. L. Blumen- 
schein) b. New York. Pupil of Herbert Adams of New York, Collin of 
Paris. Received third-class medal in the Paris salon of 1900 ; second- 
class medal in salon of 1902 ; silver medal of St. Louis exposition 1904. 

Mrs. Blumenschein w^as the first American woman to receive a medal 
of the second class from the Societe des Artistes Francois. 

BoGEflRT^ George^ (P.) b. New York, 1864. Pupil of National Academy, 
also of P'uvis de Chavannes, Aime Morot and E. Boudin, Paris. Received 
honorable mention at the Pennsylvania Academy of the Fine Arts, 1892 ; 
Webb prize, Society American Artists, 1898; first Hallgarten prize Na- 
tional Academy, 1899. Associate member of National Academy of De- 
sign, 1899. 

"October moonlight" is much admired, as is also "Approach of evening, 
Venice," ablaze with the vibrating colors of the sky at sunset. 

"He has done a great amount of work, much varied not only in sub- 
ject — landscapes, marines, views of cities chosen from all over the world 
— but also in handling and in color scheme." (Isham.) 

His work is largely reminiscent, the works of Constable, Diaz, Maris, 
being reflected in his canvases; but his two most interesting canvases, 
"Approaching storm" and "Day after the storm" are strong works and 
derived evidently from independent study and a personal outlook. (The 
artist, 24:lxi.) 

"His technique is strong, and if his ideals were simpler and more 
direct, his art could be enthusiastically admired. He has force, dra- 
matic quality, and knows how to put a picture together." (Brush & P. 
4:125.) 



43 

"Eventide" "Rainbow at sea" 

"The last rays" "Summer morning, Manomet" 

"Chateau Gaillard, moonrise" 

BoRGLUM, John Gutzon Mothei, (S. P., I.) b. California, March 25, 
1867. Pupil of San Francisco Art Association and Academic Julien in 
Paris; a member of the Royal Society of British Artists and Society 
Nationale des Beaux Arts, Paris. 

As a lad in a western Jesuit college he carved crucifixes on his slates 
and copied in his books reproductions of pictures by the old masters. 

After studying in Paris and spending a year in Spain he returned to 
the United States but in 1896 went to London and remained there un- 
til 1901 ; settled in New York in 1902. 

His earlier works in sculpture were western iji subject — "Indian 
scouts," "Death of a chief," "Apaches pursued by U. S. troops." Later 
works are "The seer," "The Boer," "Remorse," gargoyles for dormitory 
building at Princeton, bronze statuette of John Ruskin and portrait bust 
of Lincoln. Of this bust of Lincoln a writer on works of art says : "In 
profound insight into character and in subtleness of portrayal, Gutzon 
Borglum's "Head of Lincoln" must be accounted among the greatest 
achievements in portrait sculpture that have been made by any Ameri- 
can artist." (Craftsman 14:26.) 

The masterly rendering of "The mares of Diomedes" places this group 
among the great works of art. Here he has given movement — the fury 
of high-strung steeds. 

In 1898 he was commissioned to make the decorations for the Queen's 
Hotel at Leeds and chose for his subject the story of "Pan." Here his 
real personality showed itself and his special genius came into play. 

In his New York studio he painted a series of mural decorations for 
the Midland Hotel Concert Hall at Manchester, England — subject : "The 
coming of Guinevere,' also painted twelve panels illustrating "Mid- 
summer night's dream" for a private residence in New York. 

His statuette of John Ruskin evinces that broad thought with which 
he approaches his subject. 

In writing of the art of the Metropolitan Museum of New Y^ork 
(where are his "Mares of Diomedes" and the bronze statuette of Ruskin) 
David C. Vvejer says : "Nothing could be in more striking contrast — 
the mad stampede of the tumbling mass of horses and the quiet dignified 
repose of the writer and thinker." 

A contributor to the International studio says: "A certain impres- 
sionistic tendency shows itself in Mr. Borglum's recent work." 

His works are so varied and his manner so versatile that classifica- 
tion and general exposition is almost out of the question. 

"The reason for building any work of art," he says : "can only be for 



44 

the purpose of fixing in some desirable form a great emotion, or a great 
idea, of the individual or the people." 

BoRGLUM^ Solon Hannibal^ (S.) b. Ogden, Utah, December 22, 1868. 
Was reared among the frontiersmen in a typical prairie town and worked 
on a stock ranch while young. In 1893 he decided to give up ranch life 
and to study art ; became a student in the Cincinnati Art School and 
studied under Louis Kebisso and Fremiet in Paris. Associate member 
of National Academy of Design, 1911. 

When he went to Cincinnati he obtained admission to the U. S. stables 
and began to model his first group which, when exhibited in the annual 
school exhibit, won him a special prize of |50, and during his second year 
at the art school he won the prize of a scholarship. In Paris his groups 
were accepted by the salon and he received encouraging words of ap- 
proval from Fremiet, the French sculptor. 

His group called, "Lassoeing wild horses" was his first exhibit in the 
Paris salon ; "Stampede of wild horses" was next, and "The lame horse" 
brought him honorable mention. Returning to the United States in 1900, 
he made a special study of western life, living among cow-boys and 
Indians. 

"In such works as "The last round-up," "Our slave" and "On the bor- 
der of white man's land," Mr. Borglum has hit upon a very large and im- 
pressive treatment which is distinctly sculptural in its inspiration ; while 
in the tiny "Burial on the plains" there is a mysterious emotional note 
which has been touched by fcAV indeed of our sculptors, a sentiment that 
might easily have been dissipated by a more insistent technic." (Taft's 
"History of American sculpture.") 

"There is that in his work which challenges the shams and insinceri- 
ties of our drawing rooms and which makes the money-getting occupa- 
tion of our trammeled lives seem suddenly trite. His art is not the ex- 
pression of his personality, but of that part of the universe by which 
he was environed and is therefore as untrammeled as nature." 

"He stands pre-eminently as a sculptor of American life in one of its 
distinctive phases .... His groups embody in marble and bronze the free 
primitive life of the great west." (Craftsman 12:382.) 

BouGUEREAu ELIZABETH GARDNER^ (P.) (Madame W. A. Bouguereau), 
b. Exeter, N. H., 1851. Received honorable mention in Paris salon, 1879; 
gold medal, 1889; hors concour. Her professional life has been spent in 
Paris where she was a pupil of Hugues Merle, Lefebvre and Bouguereau 
whom she married. 

When Miss Gardner went to Paris to study art women were not ad- 
mitted to the Julien Academy but determined to have the benefit of the 
teaching there given, slie donned boy's clothes. Bouguereaii was her 



45 

teactier and his interest and kindness won from her a confession of her 
secret. The great French artist's sense of justice was aroused and 
through his efforts the doors of the famous academy were opened to 
women, and the name of the first woman artist to be enrolled in the 
academy was that of Elizabeth Gardner of the United States. Twenty 
3^ears later, after the death of Bouguereau's mother who opposed the 
marriage, he and Miss Gardner were married. (Cur. lit. 39:391.) 

BowBN^ Benjamin James^ (P.) b. Boston, Mass., February 1, 1859. 
After receiving his education he went into business for some time. Later 
became the pupil of Lefebvre, Robert-Fleury and Carri^re in Paris and 
after studying the works of the old masters in the various art galleries 
of Europe he took a studio at Concarneau, France, and there painted his 
first successful picture. He has exhibited in the Salon des Artistes Fran- 
cais and in America. 

"The first thing that strikes us in Mr. Bowen's pictures is the skillful 
management of light — fine shadow masses illumined with bursts of light ; 
this is admirably illustrated in his three salon pictures : "Le mousse 
blesse," "Mending the sail" and "Pardon de Notre Dame de la joie." 

"His work is honest and strong, and in looking at his pictures one 
seems to share the simple homeliness of the life they reveal." (English 
Illustrated Magazine, 47 n. s. :10.) 

BoYLE^ John J., (S.) b. New York, January 12, 1852. Pupil of 
Pennsylvania Academy of the Fine Arts, Philadelphia, under Thomas 
Eakins; Ecole des Beaux Arts under Dumont, Thomas and E. Millet in 
Paris; received honorable mention Paris salon 1886, and has also' won 
many medals. 

Lorado Taft says : "His most valuable contribution to our national 

art is undoubtedly in his favorite field of aboriginal subjects 

For the expression of power, for monumental simplicity and integrity of 
conception his groups "The alarm" in Lincoln Park, Chicago, and "The 
stone age," in Fairmount Park, Philadelphia, have not been surpassed." 

Breckeinridgb^ Hugh Hbnry^ (P.) b. Leesburg, Va., October 6, 1870. 
Pupil of the Pennsylvania Academy of the Fine Arts, Philadelphia, and 
Bouguereau, Doucet and Ferrier in Paris. Received honorable mention 
at Paris Exposition in 1900 and several prizes and medals since that 
time. Member of the Philadelphia Water Color Club and instructor and 
secretary of the faculty of P. A. F. A. since 1894. 

Mr. Breckenridge's portrait of Dr. James Tyson was exhibited at the 
107th annual exhibition of the Pennsylvania Academy of the Fine Arts 
and the International studio says that it "was painted with thoroughly 
masterful technique and was decidedly the most creditable example of 



46 

the artist's work ever seen on the Academy walls and certainly added 
tremendously to his reputation." 
Other representative paintings are 

"A thread of scarlet" ^'The nautilus" 

"Autumn" Portrait of Dr. Edgar Fohs Smith 

"Moonlight" Portrait of Howard B. French. 

Brenner^ Victor David^ (S) b. in Russia, 1871; came to America at 
the age of nineteen. Later in Paris he studied under the great Roty and 
soon reached a high stage of proficiency in the art of the medallist. 

"In honor of motherhood" is characteristic of his work and excellent 
in itself. 

"For the expression of a large idea, indeed, a medal is to sculpture 
what a sonnet is to poetry, and each calls for the greatest ability of the 
artist or the poet." (Warren Wilmer Brown, Arts & D. 2:24.) 

"The Motherhood medal is the fourth of a series being struck under the 
auspices of this circle of connoisseurs and admirers of this expression of 
art." 

Brbuer^ Henry Joseiph^ (P., I.) b. Philadelphia, Pa., Augut 18, 1860. 
Began his art studies in Buffalo, N. Y., Was a Rookwood pottery decora- 
tor in Cincinnati, 1880-2 ; lithographic designer, 1882-4 ; mural decorator, 
New York, 1884-8 ; illustrator San Francisco Chronicle, 1890-2 ; art editor 
California magazine, 1892-3 ; landscape painter since 1893. Studied in 
Paris where he came under the influence of the Barbizon school and was 
especially impressed by Corot. Is a member of the Society of American 
Artists of Paris. 

"As an aid to development along individual and original lines he has 
spent many years in California where the "atmosphere" is individualistic 
in all activities, and he was there isolated to an extent from the "schools" 
and of necessity studied nature more than art." 

"Having a splendid eje for details, he applies it in a creative imagina- 
tion evidenced in his synthetic method, which gives a balance and sense 
of completeness to his compositions." (Int. studio. 39:xlix.) 

He was commissioned to paint pictures of the Arroyo Seco of the San 
Gabriel Valley for the St. Louis ES:position in 1904. 

Characteristic works are : 

"Yosemite valley" 

"A California sunset" 

"Mt. Brewer in the Sierras" 

Bridges, Fidelia, (P.) b. Salem, Mass., May 19, 1834. O'ne of the few 



47 

pupils of the late AVilliam T. Richards. She was elected associate mem- 
ber of the National Academy-, 1874. 

At the forty-fifth annual exhibition of the American Water Color 
Society she exhibited two paintings of characteristic charm and finesse; 
''Flowers in the beach grass" and "A wide beach." 

"Miss Bridges is unique in her remarkable application of the princi- 
ples of Japanese art in landscape painting and in the delineation of 
flowers and birds, the last, indeed, being as inseparable from her name 
as are cats from the name of Henriette Eonner." 

Bridgmax^ Frederic Arthur^ (P.) b. Tuskegee, Ala., November 10, 
1847. Was an apprentice in the engraving department of the American 
Bank note Company, Xew York, 1864-5. Studied in Brooklyn Art School 
and National Academy New York and was a pupil of Gerome and at the 
Ecole des Beaux Arts, Paris, 1866-71. Since then he has had a studio in 
Paris, occasionally visiting New Y^ork. A member of the National 
Academy since 1881. 

Mr. Bridgman has a well-established reputation for his Oriental and 
archaeological pictures. He paints almost exclusively scenes from Algiers. 
The first picture by which he became widely known was "The burial of 
the mummy." This won for him the decoration of the Legion of Honor. 
Of this picture the severe critic of the Paris Figaro said : "Gerome him- 
self might have signed it, so high is the merit." This painting with "The 
pastime of an Assyrian king" and "The procession of the sacred bull 
Apis" are his chief pictures. 

He has made special study of Algiers, Egypt and Nubia and the Nile, 
and is regarded as the authorized painter of the south shore of the Medi- 
terranean. In 1881 he brought together in all 330 pictures of the East 
at an exhibition in New York. His favorite studies are curious mix- 
tures of Arab camel drivers, French zouaves and cosmopolitan tour- 
ists. These pictures belong to what is called Mr. Bridgman's salon 
manner. 

"White draperies, dark skin tints, shining marble and keen blue at- 
mosphere, ethnographical accuracy and a taste for anecdote are the 
leading characteristics of his pictures." (Miither^s "History of Modern 
painting.") 

Some of his Brittany studies, chiefly landscapes, are more interest- 
ing — they possess a different quality. The effects of light are subdued 
and very delicate. (The artist, 29:138.) 

His works are now hors concours in the Paris salon. 

Well-known paintings are : 



48 

"Up early" "Girls in the way" 

"Apollo bearing off Gyrene" "Interior of the harem" 

"Illusions of high life" "Bringing in the corn" 

"The American circus in Paris" "A Moorish interior" 

"In the Pyrenees" "Tete-a-tete in Gairo" 

"Ghapel — noon" "Bay of Dinard, moonlight" 

"Greek girls on the seashore" "Hour of reverie" 

"The morning bath" ^'In the silence of the evening" 

"Lady of Gairo visiting" "Gathering seaweed" 

Brown^ George Loring^ (P., E.) b. Boston, Mass., February 2, 1814; 
d. Maiden, Mass., June 25, 1889. At the age of twelve he was appren- 
ticed to Alonzo Hartwell, an artist, to learn the art of wood-engraving; 
when sixteen he went to Europe with money earned by painting and 
through the influence and assistance of John Gheney, an American en- 
graver living in London, he was enabled to study in Paris, enduring 
many hardships, however. Two years later he returned to Boston, opened 
a studio and worked with Washington Allston. In 1840 he went to 
Paris again and studied under Isabey, then took up his residence in 
Rome where his brilliant and poetical pictures found ready sale. 

Among his famous paintings are : 

"Doge's palace and Grand canal" "Bay of Naples" 

"Doge's palace at sunrise" "Fountain of Trevi" 

"Palermo" "Niagara by moonlight" 
"Atranti" 

The Art Museum in Rome owns his "Moonlight scene" (a prize pic- 
ture) and the late King Edward VII bought his "Grown of New England" 
when, as the Prince of Wales, he visited the United States. 

Art Journal, May 1875 : "Brown's "Sunset, Genoa," is one of those gor- 
geous idealized, hazy Italian scenes for which this artist is so much 
noted in the vein of Turner." 

His etchings executed in Rome are much freer in handling and more 
suggestive in color than are those of John Gadsby Ghapman. 

Brown^ John George (P.) b. Durham, England, Novmber 11, 1831; 
d. New York Gity, February 8, 1913. As a boy he lived at Newcastle- 
on-Tyne and there served seven years apprenticeship in learning the 
glass trade. He studied art in the Newcastle School of Design and at the 
Royal Academy and began to paint portraits before he came to the 
United States in 1853. In 1861 he was elected an associate member of 
the National Academy of Design, an academician in 1863 and vice 
president in 1899. 



49 

Mr. Brown was the most popular of American painters of genre. He 
belonged to the earlier school of painters; he was always ''telling a 
story," and was widely known as the painter of newsboys and boot- 
blacks. 

"His first cigar" w^as his first work to attract attention. ''Curling 
in Central Park" painted for Kobert Gordon elected him to membership 
in the National Academy of Design. "Allegro and Penseroso" and "The 
Longshoreman's noon" are in the Corcoran Gallery, Washington, D. C. ; 
"Jack in the box," Detroit Museum of Art; "Meditation," Metropolitan 
Museum of Art New York. 

Well-known pictures : 

"Passing show" "Training the dog" 

"Dress parade" "The gang" 

"Three (scape) graces" "The thrilling moment" 
"A merry air and a sad heart" 

For more than fifty years Mr. Brown worked in the same studio in 
New York. 

BROWNE'^ George Elmer, (P.) b. Gloucester, Mass., May 6, 1871. 
Studied at Museum of Fine Arts and at CoAvles Art School, Boston, and 
Academie Julien, Paris; exhibited in Paris salon and has been represent- 
ed at nearly all prominent American exhibitions. Received medal at the 
Charitable Mechanics Association, Boston, 1895, and the Inness Jr. 
prize, Salmagundi Club, New Y'ork, 1901. 

His painting entitled "Selling bait at Cape Cod," exhibited in the 
Paris salon 1904, was purchased by the French government. 

Popular paintings are : 

"Fishing boats at Boulogne-sur- "On the beach at Scheveningen" 

mer" "The old gate at Moret" 

"A peasant's cottage" "The wain team" 
"Storing the grain" 

Many of his best subjects have been the depicting of city life and 
scenery along the water front and streets of New York, also life and 
scenery along the Seine, from the Parisian boulevards, the banks of the 
Thames and the canals of Holland. 

The eminent art critic, W. Lewis Fraser, in Brush and Pencil, Vol. 
14 :107 says : "The charm of his pictures is the tender elusiveness of their 
somewhat somber airtones." 

Correctness of line enables him to express unmistakably what he wants 
to say. 

Brush, George de Forest, (P.) b. Shelbyville, Tenn., September 28, 
1855. Pupil of Gerome. He received the first Hallgarten prize of the 
National Academy of Design, New York, 1888; Temple gold medal of 



50 

the Pennsylvania Academy of the Fine Arts, 1897; gold medal at the 
Paris Exposition, 1900; Saltus medal of the National Academy of De- 
sign, New York, 1909. A member of the academy since 1901. 

Began as a genre painter of Indians and in his story-telling pictures 
of Indians he represents the most poetical treatment of the subject that 
has yet been achieved. Best examples are ''Silence broken," ''Mourn- 
ing her brave," "The Indian hunter," "The Indian and the lily." For 
a number of years he has confined himself to one subject — the modern 
madonna, his wife and children serving as his models. His "Madonna" 
in the Corcoran Gallery of Art, Washington, is one of his strongest 
works. "In the garden" and "The family" are more pictorial. 

Technically Brush's work does not attract, but intellectually it is 
full of beauty. (Brush & P. 11.) 

"His drawing is strong and distingu^ and his figures are interpreted 
with truth of expression." (Hartmann.) 

Another critic says : "He has not yet solved the mysterious afiSnity be- 
tween certain colors and certain emotions." 

Kenyon Cox says : "George deForest Brush is one of the few painters 
outside the ranks of the mural decorators who concerns himself pri- 
marily with line and a severe conception of form. He has often fine 
color, also in a restrained key, and always a profound feeling for charac- 
ter and for the beauty of childhood. In its composition of long flowing 
lines, its firm clean drawing, its subtle modeling and above all in the 
beautifully expressive heads and the radiant charm of blond infancy, his 
"In the garden" is worthy of one of those fifteenth-century Florentines 
with whom Mr. Brush has much more affinity than with the average 
painter." 

"In his "Madonna pictures" he shows the pathos of motherly love." 

Burroughs^ Edith Woodman (Mrs. Bryson Burroughs), (S.) b. River- 
dale-on-Hudson, N. Y., October 20, 1871. A pupil of the Art Students' 
League, New York, under Saint-Gaudens ; also studied with Inj albert and 
Merson in Paris. Mrs. Burroughs' is a member of the National Sculp- 
ture Society and was awarded the Shaw prize of the National Academy 
of Design in 1907. 

At the exhibition of the National Sculpture Society held in Balti- 
more, April, 1908, her "Summer sea" was shown; and at the academy 
exhibition in New York, 1909, she presented a marble bust "Scylla" and 
her portrait-bust of John LaFarge. 

In Mrs. Burroughs' work — statuettes, portraits in low relief, busts 
and decorative sculpture — "the fine quality of what we may call the 
lyric subjectivism is noticeable, because of its fineness, its delicacy." 
(Scrib. M. 47:639.) 

"Her figures have dignity and refinement, reached through lessons of 
art, perhaps, but nevertheless captivatingly expressive of life." 



51 

"Her work has a charm and a strength that are purely womanly." (Arts 
&D. 5:190.) 

An exhibition of Mrs. Burroughs' sculpture was recently held in New 
York and thirty-nine examples were in the collection. Pour especially 
mentioned are ''At the threshold," "Acquiescence," "Summer sea," 
"Fountain design." In these the sculptor is seen at her best. "Here she 
is severe without being cold, dignified without being pompous." 

Her "Fountain of Arabian nights" at the Panama-Pacific Exposition 
balances Mrs. Harry Payne Whitney's "Fountain of El Dorado" at the 
other end of the court. 

Cadwalai>eii-Guili>^ Emma Marie^ (S.) was born in New England but 
most of her work has been done in England and Germany, and is better 
known there than here. 

Ambassador White after seeing her work in Germany urged her to 
return to the United States and make a bust of President McKinley. 
Through correspondence, sittings were agreed upon; she came but they 
were not given ; she then modeled the bust from prints. Mr. Hanna 
entered a bill in Congress for the purchase of the bust, so pleased was 
he with it, and it is now in the president's room of the Capitol at Wash- 
ington. 

Mrs. Guild has also made a striking bust of Lincoln. John Hay said 
of it : "The power of the head is remarkable. It is a great expression 
of the personality of the man." 

Her two busts of Gladstone — one in bronze, one in marble, are the 
only ones for which Mr. Gladstone gave sittings. 

When her bust of George Frederick Watts was completed he said : 
"When I look at that bust I can understand how that man could have 
painted that picture" (pointing to one of his own.) 

Mrs. Guild numbers royalty among her distinguished patrons. 

Her idealistic heads and statues are as remarkable as her portraits. 
Of her "Lotos," the German Times says : "This psychic masterpiece 
stamps Mrs. Guild unequivocally as an artist of the very first rank." A 
bronze statuette called "Freed" has been exhibited in the Paris salon, 
at the Royal Academy, London, and at Munich. Her "Head of St. Moni- 
ca, the mother of St. Augustine" is a charming study. The German gov- 
ernment purchased her "Electron" and placed it in the Post-museum at 
Berlin. The pose of her "Endymion" is not to be found in either modern 
or ancient sculpture. 

"Mrs. Guild is careful in her anatomical study but works without 
model; and her results strengthen the suspicion that in poses involv- 
ing a representation of movement, however slight, the appearance of a 
stationary model is false in detail to the exact appearance in motion." 

"Mrs. Guild is a painter as well as sculptor and known abroad as one 
of superior merit." 



52 

Calder^ Alexander Stirling, (S.) b. Philadelphia, Pa., 1870. He 
studied four years in the Academy of Pennsylvania and two years in 
Paris under Chapu and Falguiere and has been connected with the Phila- 
delphia school ever since his return to America. 

He made the statue of Dr. Samuel D. Gross for the army medical 
museum, Washington, D. 0. ; six figures of heroic size for the exterior 
of the Witherspoon building, Philadelphia — six representative Presby- 
terians. ''The rugged figures are admirably characterized." 

Among the more ideal themes treated by the artist are : "The man cub," 
"Child playing," "Mother and baby," "The miner," "Narcissus," and 
"Primal discontent." (Brush and Pencil 13:225.) 

Mr. Calder designed the "Fountain of energy" for the Panama-Pacific 
Exposition 1915. 

Carlsen, Emil, (P.) b. Copenhagen, Denmark, October 19, 1853. Was 
educated in his native city and came to the United States in 1872. He 
has what the late Frank Fowler has described as a kind of specialized 
vision, very charming and very fine. Coming from Denmark he brought 
with him the old Vikings love of the great waters. His poetic interpre- 
tation of their beauty has met with universal recognition. Medals and 
prizes have been awarded iiim in many exhibitions and he was elected a 
member of the National Academy in 1906. 

"He contents himself with quiet middle tones, never forcing his gamut 
to extremes of light or shades, but his surfaces are lovely, his paintings 
invariably mature." (Int. studio 39:10.) 

"His landscape work has the quality of his still-life studies of game 
or fish ; broad unbroken masses of color strongly relieved against 
each other, whether sunlit trees against a deep blue sky or a white 
swan against a dead wall, the contrast not being relied on alone for the 
effect, — but the color being made as absolutely true as in his vigorous 
works." (Isham.) 

Admired paintings are: 

"The quiet sea" "Wild swan" 

"Meeting of the seas" "May morning" 

"The open sea" "The panel" 

Kenyon Cox says : "Beauty is his aim, and the facts and the force of 
nature are both subordinated to decoration. In the "Open sea" it is 
the exquisitely varied blues and grays of sky and water that have 
charmed him, while in his "Surf" it is not crash and roar that we are made 
to feel, but the bold pattern of black and white and blue." 

At the one hundred and tenth annual exhibition of the Pennsylvania 
Academy of the Fine Arts was shown Emil Carlsen's "O, ye of little 



53 

faith," a vision of Christ walking on the waters. The artist refuses to 
sell this work and calls it his religion. 

"In an infinite glory of sea and sky, in a burst of silvery light, un- 
matched by anything in art since the days of Rembrandt, along the 
luminous pathway trod the Son of Man It w^as almost too pre- 
cious for public display, too far above the heads of those in the motley 
throng who commented on the perfect framing or wonder why the figure 
was drawn so small." (Book news monthly 33:378.) 

Carpenter^ Francis Bickw^ell^ (P.) b. Homer, N. Y., August 6, 1830; 
d. New York May 23, 1900. He was a pupil of Sanford Thayer at Syra- 
cuse, N. Y. Won much fame as a painter and also possessed much liter- 
ary ability. 

His painting "Arbitration," representing the signing of the treaty of 
Washington, was accepted by Queen Victoria and hung in her private 
collection. His portrait of President Fillmore was purchased by the city 
of New York and hangs in the City Hall. "First reading of the Emanci- 
pation proclamation before the cabinet" now hangs on the stairway of 
the House of Representatives, Washington. 

Mr, Carpenter w^as elected associate member of the National Academy 
in 1852. 

Cassatt, Mary, (P., E.) b. Pittsburgh, Pa., 1855. Her first studies in 
art were at the Pennsylvania Academy of the Fine Arts, Philadelphia. 
After traveling extensively in Spain, Italy and Holland she settled in 
Paris, and Degas, convinced of her ability and sincerity, consented to 
take her as a pupil and for fifteen years she studied and worked with 
him, achieving in time a position not far below his own. 

At various intervals Miss Cassatt has devoted herself to painting in 
oils and pastels, to color-etching, dry point and even lithography. While 
her range of expression is wide, her choice of motive is restricted. For 
the most part she transcribes the intimate relationship of motber and 
child. She always avoids a sentimental version of child life. "Beauty is 
there, but not a sugary, waxen beauty." 

Among her most characteristic works are : 

"The Toilet" 

"Women and child" Earlier works are : 

"The caress" 

"Baby arises" "At the French theater" 

"The cup of tea" "After the bullfight" 

"The reading lesson" "Music lesson" 



"Children playing with a cat" "On the balcony' 

"Mother and child" 

"Supper-time" 



54 

Miss Cassatt, a follower of the School Manet, sends her canvases 
to the Impressionists' exhibitions in Paris, but she refuses to exhibit in 
the salons, and in her indifference to their applause she stands alone. 
All other Parisian American artists have regularly displayed their works 
in the great competitive exhibitions. Miss Cassatt is a member of the 
Legion of Honor of France, and her work takes rank beside that of the 
foremost modern masters. 

"Her work is resolute, thoughtful and lucid. Much of her master's 
strength of line is there, and much also of his solemn, almost classic 
restraint. Miss Cassatt has never faltered in her allegiance to the tenets 
of Impressionists." (Int. studio 27: sup. 1.) 

"She has succeeded in creating a new style and lending to prose and 
realism a decorative quality best displayed in her colored etchings. In 
sheer force and breadth of view few men artists could rival her "Mother 
and child" pictures." (Hartmann.) 

Perception of and sympathy for the wonderfully intimate relation 
existing between mother and child are qualities which stand out promi- 
nently in the work of Miss Cassatt. (Elizabeth Anna Semple.) 

Chief distinction of Miss Cassatt's art is closeness of interpretation 
united to the impressionist's care for the transitory aspect of things. 
(Elizabeth Luther Cary.) 

"The secret of compressed statement is hers, of condensed signifi- 
cance." (Frank Weitenkampf.) 

At the exhibition of the Pennsylvania Academy of the Fine Arts, held 
in 1914, Miss Cassatt was awarded the gold medal of the academy. She 
accepted it. It is the only honor which she has accepted in her long and 
distinguished life. 



Cha'Mpneiy^ James Weills^ (P.) b. Boston, Mass., July 16, 1843; d. 
Kew York, May 1, 1903. Began his art education with a wood engraver 
in Boston. Studied in Europe under Edouard Frere, Paris, and at Ant- 
werp under Yan Lerius, 1868-9. In 1882 he was made associate member 
of the National Academy. Was an exhibitor of oil paintings at the Cen- 
tennial Exhibition, 1876, and of pastels at World's Columbian Exposi- 
tion, 1893. 

On account of the number of Boston artists bearing his surname, he 
signed his early pictures "Champ," but later gave his full name. 



Early and popular pictures: 

"Not as ugly as he looks'^ 
"Boy shelling peas" 
"Hearts and diamonds" 
"The sear leaf" 
"Your good health" 
"Speak, sir" 



"The best scholar" 
"Which is umpire" 
"Grandma's pet" 
"Don't touch" 
"Children roasting apples' 



55 ' ' ' 

The most successful paintings are genre subjects, quiet and simple in 
their nature. 

During the last few years of his life, Mr. Champney made a specialty 
of pastel pictures and achieved remarkable success in this branch of art. 

A few of his later pictures are: 

'^The squire's daughter" "The flower of New England" 

"Ophelia" "Sylvia" 

"Indian summer" "Mignon" 

"A song without words" "Little Mistress Dorothy" 

"The best scholar" 

Chandler^ George W., (E., I.) b. Milwaukee, Wis. Early evinced 
artistic tendencies and was employed as an illustrator on the New York 
daily papers. After some foreign travel, entered the Academie Julien, 
Paris in the classes of Jean Paul Laurens. In 1908 received honorable 
mention at the salon. 

India forms the setting for some of his finest plates : 

"The minarets, Benares" 
"The burning ghats, Benares" 

Parisian scenes: 

"Les travaux du Metro" "Le dejeuner" 

"Dans PAvenue de Saxe" "Aux bords de la Seine" 

Evidence of his versatility, as well as his understanding of pastoral 
beauties may be found in "Le Moulin Moret," "The old lock," "Cour de 
Cerf" and "Cour a pont I'Arche" ; "Le portail de St. Maclou, Kouen," is 
an expression of sombre beauty. 

"He gives us not only the lacy fretwork of the vaulted doorway, but we 
enter with him into the shadow of a dim interior, heavy with the in- 
cense of a by -gone age." (Marie Bruette.) 

Chapman^ John Gadsby^ (E., P.) b. Alexandria, Va., December 8, 
1808; d. Brooklyn, N. Y., July 6, 1890. One of the most important of 
the early etcbers. in the United States, made his first attempt at etching 
in 1843 ; etched in Kome from 1852 to 1857, where he studied art. First 
became known as an etcher in New York City where he did much good 
work for Harper & Bros. 

His versatility was remarkable — portraits, landscapes, engraving and 
etching being alike within the compass of his ability. For fifty-three 
years he was a member of the National Academy of Design. 



56 

His "Baptism of Pocahontas" in the rotunda of the Capitol at Wash- 
ington, is the painting b}^ which he is best known. 

Mr. Chapman was the first American to write on etching. 

Chase^ William Merritt^ (P.) b. Franklin, Ind., November 1, 1849. 
At the age of nineteen began the study of art in Indianapolis; also 
studied in New York, later in the Munich Koyal Academy and after- 
wards had Alexander Wagner for a teacher; also was a pupil of Karl 
von Piloty. He refused a professorship in the Munich Royal Academy 
and returned to America. In 1885 he was elected president of the So- 
ciety of American Artists and re-elected every year thereafter for ten 
years. After conducting winter classes at the Art Students' League for 
eighteen years, in 1897 he organized a distinct school of his own known 
as the ''Chase School for Art." Aside from his work in New York, he 
has taught for a number of years at the Pennsylvania Academy of the 
Fine Arts and at the Hartford Art School. His summer school at 
Shinnecock, L. I., is famous. His influence as an instructor is the 
most far-reaching of any artist in America and probably of any country, 
and his traveling classes abroad are a feature in the progress of Ameri- 
can art. He is one of the foremost landscapists and portraitists, and 
the best "still-life" painter in America. A member of the National 
Academy of Design since 1890. 

The beginning of his reputation as a painter was made when he ex- 
hibited his "Court jester" in 1876; his ''Smoker" (the portrait of Frank 
Duveneck) won for him honorable mention in the Paris salon and at a 
Munich exposition. 

His most famous portraits are those of his mother, ''My daughter 
Helen," Mrs. Tyler, Dr. Osier and Thomas Dolan. Among his fanciful 
pictures are "Alice," "Dorothy and her sister," ''The red box," "Ring 
toss," "Girl with dog," "Ready for the ride," "The gray kimona," "The 
open Japanese book." These serve well to illustrate the distinctive 
quality of Chase's color sense. (Craftsman 18:33.) 

Mr. Chase is world-famous for painting of brass and other metals; 
and he paints the gold frame of the picture within his picture with suffi- 
cient skill to stand comparison with the real frame. 

Of his brush work, Har-tmann says : "There are passages in some of 
his pictures which even brush magicians like Whistler and Zorn cannot 
surpass. Chase is always clever. "Clever" is a word often misused. It 
is well applied to him." 

Mr. Chase's portrait hangs in the Uffizi, Florence, Italy, in the famous 
gallery devoted to the portraits of painters by themselves. This is an 
emphatic recognition of his achievement and his standing in the pro- 
fession of art. Only two other American artists have been thus hon- 
ored — Healy and Sargent. 



57 

In 1903 he was elected a member of ''Ten American Painters" to fill 
the vacancy caused by the death of John Henry Twachtman. 

Kenyon Cox says : ''His picture in the Hearn collection, with its somber 
glow of copper in the dark background, its iridescent, gleaning fish, its 
one red apple, and its two wonderfully painted green peppers, is a master- 
piece which no living painter could surpass in its own way." 

Christy^ Howard Chandler. (I.) b. Morgan county, Ohio, January 10, 
1873. Was educated at Duncan Falls, Ohio. At the age of twenty he 
entered the National Academy of Design, New York, and in two months 
had won honorable mention and one bronze medal. He studied undei 
William M. Chase and later became instructor in Cooper Union, the Chase 
School, New York School of Art and the Art Students League. 

During the Spanish-American war was with the Kough Eiders before 
Santiago and established his reputation by his Cuban pictures and types 
of the navy and army men. He wrote war stories and illustrated them 
for Scribner's and Leslie's Weekly, and has made hundreds of illustra- 
tions for other publications. 

Among his best known and most popular works were his pictures il- 
lustrating ''Miles Standish" and "Evangeline." Mr. Christy is famous 
as the painter of the American girl. 

His art is of a high romanticism in conception and academic in its exe- 
cution. 

Church. Frederick Edwin, (P.) b. Hartford, Conn., May 4, 1826; d. 
New York, April 7, 1900. The pupil of Thomas Cole, he resided with 
him at Catskill, N. Y^., thus gaining the first inspirations along the shores 
of the Hudson and amid the beautiful regions of the legendary Catskills. 
He established a studio in New York and was elected an academician of 
the National Academy in 1819. Made sketching tours in South America 
in 1853 and 1857; later, on the coast of Labrador and in Jamaica. In 
1868 visited Europe and the Holy Land ; Mexico in 1883. 

Church's "Niagara" was immediately recognized as the first satis- 
factory delineation in art of one of the greatest natural wonders of the 
western world, and this is in itself extraordinary praise. It received 
medal at the Paris Exposition of 1867. When Ruskin first saw this 
painting he pointed out an efi'ect upon water which he declared he had 
often seen in nature among the Swiss waterfalls, but never before on 
canvas. 

Among his works sketched on his extensive tours are : 

"Icebergs" "Rainy season in the tropics" 

"A South American landscape" "Heart of the Andes" 

"The afterglow" "El Khasme Petrk" 



58 

^^Andes of Ecuador" "Cotopaxi" 

"Ohimborazo" ^'Twilight in the wilderness" 

^'Morning in the Cordilleras" ^'View of Quebec" 

"Jerusalem" "Aurora borealis" 

Church's works are generally composite rather than a transcription 
of actual landscape. 

Church^ Frederick Stuart^ (P., I., E.) b. Grand Rapids, Mich., De- 
cember 1, 1842. Studied in the Chicago Academy with Walter Shirlaw 
and later in the National Academy of Design and Art Students' League 
of New York, and for some years has occupied a studio in that city. His 
first popularity was gained by his drawing in black and white ; he fur- 
nished book and magazine illustrations for Scribner's and other publica- 
tion houses; then oil and water-color work attracted his attention. 

Mr. Church is a member of the National Academy of Design, New 
York, Society of Painter-Etchers, London, and the New York and Phila- 
delphia etching clubs. 

"Una and the lion," "The lion in love," "Beauty and the beast," "The 
black orchid," "The sorceress," and "Twilight" are familiar examples of 
his graceful realization of purely fanciful themes. 

Of his works, Isham in his "History of American painting," says : 

"They are not profound, they are not subtle yet if they have the 

simplicity of a story told to children, they have also freshness and 
charm. If the drawing is loose, it is also graceful." 

There are probably no more popular etchings than his, wherein a grace- 
ful and humorous fancy charms us all. His "Mermaid" is a well-known 
plate. 

Clark^ Walter Appleton, (I) b. Worcester, Mass., June 24, 1876; d. 
New York City, December 27, 1906. With a purely local art training of 
some three years, he established himself as one of the leading illustra- 
tors of the day. Taught classes at the Art Students' League and Cooper 
Union, N. Y. and at the Pennsylvania Academy of the Fine Arts. 

A picture of his on the wall of the Art Students' League, while a 
student, attracted the attention of the art editor of Scribner's maga- 
zine ; this led to his being employed to illustrate one of Kipling's stories. 
Among his latest works was the illustration of the modern version of 
"Canterbury Tales" by Percy Mackaye. 

"Mr. Clark's strong point is his execution, he has a nice clean dexterity 
of touch, employed with nobility and ease." 

"In finish he obtains the feeling noticeable in the color work of Vibert 
and his compositions are handled with the adroitness of F'ortuny, with 
less dash, however, but with more delicate sympathy and refinement." 



59 

Clarke^ Thomas Shields, (S., P.) b. Pittsburgh, Pa., April 25, 1860. 
Graduated at Princeton University in 1882. While a student at the Art 
League in New York, he made illustrations for magazines. Going to 
Paris, he studied drawing under Boulanger and Lefebvre, modeling under 
Chapu and painting under Gerome in the Ecole des Beaux Arts ; later 
was instructed by Dagnan-Bouveret; also studied art in Florence, Rome 
and Venice. Associate member of National Academy of Design, 1902. 

His paintings and sculpture have brought him honor at home and 
abroad, he having been represented at international expositions at Ber- 
lin, Madrid. London and Paris. 

His "Night market in Morocco" received official recognition at the Ber- 
lin Exposition in 1891 ; "A fool's fool" was shown at the Paris salon, and 
upon its merits he was admitted to membership in the Society of Ameri- 
can Artists, New York. "A gondola girl," "Morning, noon and night"^ 
and other Venetian works are attractive. 

His bronze group — fountain design — "The cider press," displayed at 
the Madrid Exposition, brought him a medal of honor, presented person- 
ally by the King of Spain. 

Four caryatides — "The seasons" — on the New York Appellate Court 
building are dignified and graceful. His more important work in sculp- 
ture is "Alma Mater and her son Alumnus," for Princeton University. 
"These figures are splendidly modeled and thoughtfully conceived." 

Mr. Clarke has also done some notable mural decoration. 

(Brush & P. 6:195.) 

CoLB, Thomas, (P.) b. Bolton-le-Moor, Lancashire, England, February 
1, 1801; d. Catskill, N. Y., February 11, 1848. Was of American parent- 
age, and in 1819 the family returned to America taking up their resi- 
deuce at Stubenville, Ohio, where he began the study of painting under 
a portrait painter named Stein. Not successful in portrait work, he took 
up landscape painting. In 1825 he went to New York, subsequently be- 
came intimately acquainted with Durand and Trumbull. He was one of 
the founders of the National Academy of Design and had a picture at 
its first exhibition in 1826. A patron sent him to Europe in 1829 to 
complete his art education and he remained there about three years 
sketching and painting in England, France and Italy. After his return 
he painted two allegorical series, "The course of empire" and "Voyage 
of life." These soon won him great contemporary popularity. (Noble's 
"Life and works of Thomas Cole.") These paintings were exhibited in 
the rooms of the New York Art Union in 1848 and were visited by a half 
million people. Other paintings depict scenes from an extreme range 
of landscape. 

"All are remarkable for imagination, composition and the most re- 



60 

fined and picturesque truth to the details, as facts and influences of 
nature." (Tuckerman.) 

His most beautiful illustrations of Italian scenery are "I'Allegro'' 
and ''II Penseroso," companion pieces. Of American views one of the 
most attractive is "The hunter's return." One of his most highly finished 
works is a picture illustrating Mrs. Hemans' poem ''The cross in the 
Avildnerness." "The tone of the picture is quite Claude-like." (Tucker- 
man.) Caffin says: "Cole forms a link between the new enthusiasm for 
nature study and the older predilection for historical and "grand style" 
subjects." According to this authority his more enduring claim, however, 
to be remembered consists in his having aroused an appreciation of the 
pictorial possibilities of the Catskill, and of American landscape in gen- 
eral. He makes nature the vehicle for moral allegories. 

CoMAN^ Charlotte Buell, (P.) b. Waterville, New York, 1833. 
Studied in Paris with Harry Thompson and Emile Vernier; spent six 
years in France and Holland and exhibited at the Paris salons for two 
3^ears. Mrs. Coman's specialty in painting is landscapes and she was 
thirty years of age before she commenced the studj^ of art. She received 
the Shaw memorial prize of the Society of American Artists, and the 
second prize of the Washington Society of Artists, 1906. Was elected 
associate member National Academy of Design, 1910. Mrs. Coman is 
represented in the Evans collection, Washington, D. C." the Metropoli- 
tan Museum, New York, and in the permanent collections of several 
western clubs. 

"Clearing off" is one of her strongest, and "A misty morning at the 
farm" one of her best. 

Craftsman 21 :491 : "But to return to the academy walls one seeks 
again and again Charlotte Coman's beautiful painting of hills and clouds. 
What sunlight pours over the friendly little house nestling in the 
shadowy meadows, a delightful study, tenderly painted, a thing to re- 
member and to rejoice in." 

Mrs. Coman is one of a hundred representative American artists 
chosen to exhibit at the Detroit Museum's coming exhibition of "best 
pictures from current shows." Her "Well-worn path" was selected by 
the committee. 

Critics of high repute declare that Mrs. Coman is doing her best work 
now at the age of the eighty. 

Cooper, Colin Campbeill^ (P.) b. Philadelphia, Pa. Studied in 
Pennsylvania Academy of the Fine Arts, Philadelphia, Academic Julien 
and other art schools in Paris. Is a member of many leading art clubs 
in this country, and has been awarded many medals and prizes; is an 
associate member of the National Academy. He has spent much time in 



61 

Europe painting figure and architectural subjects, architecture and 
street scenes being his specialty. "Beauvis cathedral," one of the notable 
historical structures of France, is considered his finest work. Mr. 
Cooper's notable achievement is his long series of canvases depicting the 
pictresque charm of the modern sky-scraper ; he began this work in 1902. 
He sees beauty, sublimity and grandeur in the^structures that the aver- 
age person is wont to call monstrosities. 

He handles water-colors on canvass so cleverlj' that his water-colors 
can scarcely be distinguished from oils. 

"Broad street, New York," "Rush hour Brooklyn bridge," "Broadway,^ 

"The chain gate," "The Flatiron building," "Walton hotel, Philadel- 
phia," and a scene in Penn Square, are additional proof of his skill in 
clothing the common place brick and mortar of the business block with 
rich warm colors of their own. 

"That Cooper has the natural gift of seeing the beauty of what to 
most people are prosaic structures, and the patience and persistence to 
perfect his delineation of street and building, is the secret of his success 
as an architectural painter." (Brush & P. 18:72.) 

Mr. Cooper has recentlj^ returned from the far East and has exhibited 
Indian paintings in New York. Among his architectural works which 
are said to possess "such charm as to make them dreams of beauty" are 

"Taj Mahal, Agra" 

"T\liite Mosque, Bombay" 

"Maharajah's palace, Udaipor" (Venice of India) 

He has also given his poetic version of the famous "Bathing Ghat, 
Benares" and "Akbar's Baths, Agra." "Bombay harbor at sunrise" is 
an impressive and splendidly painted view of the Himalayan peak of 
Kungchenjunga. 

"Perhaps the most striking work in the display is the "Palace gate, 
Udaipor" which pictures the inner gate in the Maharajah's palace dur- 
ing a procession, a remarkable portrayal of the rich colored moving, 
strange life of an ancient city under tropic skies." 

Cooper^ Emma Lampert (Mrs. Colin Campbell Cooper), (P.) b. Nunda, 
New York. Began the study of art at the Cooper Union and Art Stu- 
dents' League in New York and later was the pupil of Harry Thompson 
in Paris, J. Kever in Holland and William M. Chase in New York; has 
also studied in Italy. 

Mrs. Cooper has had charge of the art department at Poster School, 
Clifton Springs, also of the painting classes at Mechanics Institute, 
New York. 

Interiors and street scenes from France, Holland, Belgium, Italy and 
Switzerland, painted in oils and water colors, are her favorite subjects. 



62 



Eepresentative pictures are: 



^'Morning near Eiverdale" "News of the day" 

^^High noon, Cape Ann" "Weaving homespun" 

"Mother Claudia's fireside" "Swiss fireplace" 

''The breadwinner" "Canal at Lisieux" 

"Breton bakery" "Old dye house" 

Copley^ John Singleton^ (P.) b. Boston, Mass., July 3, 1737; d. Lon- 
don, England, September 9, 1815. At the age of seventeen he produced 
his first grouped picture — an allegorical study of Mars, Venus and Vul- 
can. From that time he was recognized as a painter. Through the in- 
fluence of Benjamin West his "Boy with the squirrel" was exhibited in 
London in 1766, and in 1772 he was elected a fellow of the Society of 
Artists. In 1774 he settled in London and became a notable painter of 
historical scenes. In 1776 he was elected associate of the Royal Acad- 
emy, and in 1779, academician, and presented, on admission, his 
^'Tribute money." His "Death of the Earl of Chatham" established his 
fame in England. 

He opposed the classical productions of the age by his vigorous repre- 
sentations of events of history and war. Among his numerous subjects 
in this line are: "Death of Major Pierson," "Siege of Gibraltar," "Sur- 
render of Admiral de Windt to Lord Camperdown," "Charles I demand- 
ing the five impeached members," "Charles I signing Strafford's death 
warrant," "Offer of crown to Lady Jane Grey," "Assassination of Buck- 
ingham." He also painted religious subjects and large portrait groups 
of noted English families. But of his earlier work — that done before 
he left Boston, w^hich consists of a long series of portraits of our colonial 
dignitaries, divines, judges and merchants — Isham says : "These paint- 
ings are the most authentic records of our pre-revolutionary ancestors 
which have come down to us." 

Copley's best known portraits in America are those of John Adams 
and John Hancock. 

Caffin says : "Copley was the most distinguished in skill of craftsman- 
ship of all the pre-revolutionary painters." 

Copley was not poetical, but he produced splendid prose. 

CoRY^ Fanny Young (Mrs. F. W. Cooney), (I.) b. Waukegan, 111., 
October 17, 1877. Studied art at the Metropolitan School and the Art 
Students' League of New York. Married to F. W. Cooney, 1901. 

Has made illustrations for the Century Company and Harper Bros. 
and illustrated numerous books, including "Alice in Wonderland," 
"Through the looking glass," etc. 

Favorite children pictures are : 



63 

^'Do you make saucer pies?" 
^'On the dark stair" 
^'Shoo!" 

CouDERT^ Am ALIA KussNER^ (Miu. P.) b. Terre Haute, Ind., March 26, 
1876 ; began her artistic career in New York in 1892 and afterwards went 
to London and painted miniature portraits of King Edward and most of 
the highest aristocracy of England; later she was summoned to Russia 
to paint portraits of the Czar and Czarina and the Grand Duchesses 
Vladimir and Ellen and also went to Africa to paint the portrait of the 
late Cecil Rhodes. 

CouPER, William, (S.) b. Norfolk, Va., September 20, 1853. Pupil of 
Thomas Ball and Cooper Institute in New York; also studied in Munich 
and Paris. 

Lorado Taft says : ^'His 'Moses' in the appellate court building is a 
magnificent conception and justly admired, its only weakness is over- 
elaboration Mr. Couper has made particular and sympathetic 

study of winged figTires. They are not merely pretty but they are beau- 
tiful, radiant creations, gracefully conceived, carefully drawn and ex- 
quisitely carved." 

Mr. Couper is a member of the National Sculpture Society. 

CousE^ Eanger Irving, (P.) b. Saginaw, Mich., 1866. Pupil of Na- 
tional Academy, New York, Bouguereau, Robert-Fleury and Ecole des 
Beaux Arts, Paris. Received the Shaw prizie for black and white, at 
Salmagundi Club, 1899; second Hallgarten prize National Academy, 
1900 ; Proctor prize. Salmagundi Club, 1900 ; honorable mention, Paris 
Exposition, 1900; first Hallgarten prize National Academy, 1902. Asso- 
ciate member National Academy of Design, 1902 ; academician, 1911. 

Mr. Couse devotes himself to the Pueblo or town Indians of the south- 
west, painting them in their actuality or with ideal touch in their home 
in New Mexico. Part of the year he passes at Taos, for the portrayal 
of the Taos Indians is his particular art. 

He had much difficulty in securing interesting and picturesque models, 
as it is a matter of belief with these Indians and in fact with others, 
that the soul of the sitter passes out into the portrait when the picture 
is completed, and naturally, until the prejudice is overcome, there is not 
much enthusiasm about posing. 

He paints the Indian not primarily as the actor in a wild savage 
drama, as Remington and Schreyvogel have, but as the peaceful dweller 
in primitive scenes, revealing them often as more poetical and philoso- 
phical than the more so-called civilized races. (Craftsman 18:619.) 



64 



Admired works are 



"The mountain hunter" "The weary hunter" 

"The magic forest" "Bear cubs" 

"Trout ripples" "Keturning to camp" 

"An Indian shepherd" "Medicine fires" 

"The voice of the falls" "The trout streams" 

"Elk-foot" "The brook" 

"San Juan pottery" "The tom tom maker" 
"Mending the war bonnet" 

At the winter exhibition of the National Academy of New York the 
Carnegie prize of fSOO for the most meritorious oil painting by an 
American artist went to Mr. Couse for his "Indian making pottery." 

CowLES, GeneiviEiVb Almeda and Maud Alice (twin sisters), (Mural 
P. and stained-glass decorators) b. Farmington, Conn., February 23, 
1871. Always lived in an atmosphere favorable to the cultivation of 
their naturally artistic tastes. They took up drawing at the age of 
seven; a little later they were taken to Europe and in Florence, Giotto, 
Fra Angelico and Botticelli impressed their imaginations deeply. Their 
first series of children were draAvn for Scribners. They have done much 
work for magazines, executed stained glass windows in various churches, 
also specialized in mural decoration. 

Their mural decorations in Christ Church, New Haven, Conn., are 
especially noteworthy. They represent: "Prayer of the prisoner," 
"Prayer of the soul in darkness," and "Prayer of old age." These are 
paintings of states of the soul and of deep emotions. They are records of 
human lives and not mere imagination. 

Other works are. Memorial window and a decorative border for the 
chancel of Saint Michael's Church, Brooklyn; a window in memory of 
the deaconess. Miss Stillman, in Grace Church, New York. Have exe- 
cuted many windows and other decorative work for churches. 

Miss Maud Alice died during the summer of 1905. 

Miss Genevieve writes : "I desire especially to work for prisons, hos- 
pitals and asylums — for those whose great need of beauty seems often 
to be forgotten." 

She contributed to the Craftsman 10:97 a most interesting article 
on "Building a stained glass window." 

Cox, Keinyon, (P., L, Mural P.) b. Warren, O., October 27, 1856. 
Studied in Cincinnati and Philadelphia ; also in Paris under Carolus- 
Duran and Gerome, 1877-82 ; returned to New York. 

Keceived second Hallgarten prize at the Academy exhibition in 1888, 
and the same year received two prizes for works at the Paris Universal 



65 

Exposition. His pictures are principally portraits and figures. He 
painted two decorations in the Library of Congress, one in Walker Art 
Gallery Bowdoin college, one in Iowa state capitol, also friezie in court 
room of appellate court building, New York. Associate member of Na- 
tional Academy, 1900, full member, 1903; also a member of American 
Academj^ Arts and Letters. 

''A lady in black" was exhibited in the salon during his Paris student 
days and on the merits of this work he was elected to the Society of 
American Artists. 

Best known paintings are: 

"Jacob wrestling with the angel" "Painting and poetry" 
"Vision of moonrise" "Flying shadows" 

Mr. Cox is regarded as a colorist of distinction, but especially excels 
as a draughtsman. He is also well known by his critical writings of 
art and by his work in black and white, including his illustrations to 
Kossetti's "Blessed damozel." (Int. studio 32:3.) 

Cox, Louise, (Mrs. Kenyon Cox) (P. and I.) b. San Francisco, Cal., 
June 23, 1865. Pupil of the National Academy of Design; Art Students' 
League under Kenyon Cox in New York. Keceived third Hallgarten 
prize National Academy of Design, 1896; bronze medal Paris Exposi- 
tion 1900. 

"Mrs. Cox makes a specialty of children's portraits and some of her 
happiest results have been obtained when her own charming children 
have acted as the models." (Overland monthly 40:111.) 

CiiAiG, Charles, (P.) b. Morgan county, Ohio, November 1, 1846. He 
Avent west in 1865 and lived among the Indians for four years. In 1869 
he came east for technical instructions and became a student at the 
Pennsylvania Academy of the Fine Arts remaining there until 1873 
when he entered the studio of Peter Moran. Eight years later he re- 
turned to Colorado, opened a studio at Colorado Springs and became 
known as a painter of Indians and western scenes. 

Mr. Craig has exhibited in eastern galleries and many of his pictures 
have gone to Europe. Count Orloff Davidorff of St. Petersburg and 
the Duchess of Buckingham and Chandos are among distinguished peo- 
ple who own his pictures. Eepresentative pictures are, 

"Trailing in" "Medicine man" 

"Scouting party" "Hualipi" 

"A Sioux lookout" 

"Mr. Craig's knowledge is so accurate that the student of Indian cos- 
9 



66 

tume may be sure that every detail is correct. If a Bioux warrior is 
depicted on the war path his streaks of paint are in the proper place and 

of the proper color Each canvas is a historical record. (Int. 

studio, 52:xciv.) 

Crane!^ Brucei^ (P.) b. New York, October 17, 1857. Studied art under 
Alexander H. Wyant. At the age of seventeen while residing in Eliza- 
beth, New Jersey, he entered the office of an architect and builder and 
there had actual experience as a practical draughtsman. In 1878 he 
went abroad visiting the galleries of Liverpool, London and Paris. His 
first picture, "An old mill pond on Long Island," was exhibited at the 
National Academy in 1879. The summer of 1882 he spent in the historic 
old town of Grez, near the forest of Fontainebleau. 

He received the Webb prize. Society American Artists, 1887; bronze 
medal, Paris Exposition, 1900; the George Inness memorial gold medal 
National Academy, 1901. An associate member of the National Acad- 
emy in 1897, full member, 1901. He belongs distinctly to the plein air 
school of landscape painters and chooses only native subjects. As a 
teacher he has met with remarkable success. 

Mr. Crane has produced a long list of charming, poetic canvases, be- 
ing one of America's most idyllic landscape painters. 

His most notable canvases are : 

"Winter" "November woods" 

"A haystack" "Peace at night" 

"Apple blossoms" "A black cloud" 

"Brown and sere" "Waste land" 

"Ripening grain" "White fields" 

"The gray hill" "A New England meadow" 

"Rainbow" "Harvest field" 

"Indian summer" "After the rain" 
"Awakening hills" 

He writes : "A work of art is not a scientific statement. It is enough 
if it be true to itself, that is to say, harmonious." 

"It is by the simple selection of colors and the conscientious pains- 
taking methods that Crane has achieved his notable successes." (Brush 
& P. 11:1.) 

CrowninshiedliD^ Frederic^ (P., L, Mural and stained-glass designer) 
b. Boston, Mass., November 27, 1845. Mr. Crowninshield was educated 
at Harvard and studied art with Rowbotham in London. For a number 
of years he lived in Italy and in Rome studied with Jean Achille Benou- 
ville. For three years he lived in Siena where he learned the technical 
secrets of "buon fresco," almost a lost art. To this period belong many 



67 

of his delightful water colors. He visited Paris frequently and studied 
under Cabanel at the Ecole des Beaux Arts and worked with Couture in 
his studio at Villers-le-Bel, near Paris. Shortly after his return to the 
United States in 1878 Mr. Crowninshield was appointed instructor of 
drawing, painting and decorative art in the school connected with the 
Boston Museum of Fine Arts. This position he held until 1885 during 
which time he lectured on artistic anatomy. 

After moving to New^ York he executed a memorable series of stained 
glass windows. At this time he did his most important mural painting. 
During the past few years he has developed another side of his talent — 
landscape painting. Much of his time is devoted to guiding the activi- 
ties of the art societies in New York. He has been president of the Fine 
Arts Federation of New York since 1900; director of the American Acad- 
emy at Rome 1909-11 and is an associate member of the National Acad- 
emy of New York. His book ''Mural painting" is a standard work. 

As a painter, poet, craftsman, illustrator, teacher, lecturer, after- 
dinner speaker, organizler, he holds an unique place in the art world of 
the United States. 

CRUNEiLLEi, Leonard^ (S.) b. Lenz, France. His family emigrated to 
America and found work in the coal mines near Decatur, 111. Leonard 
amused himself after work by modeling figures out of coal. Lorado 
Taft, the sculptor, discovered him and later became his instructor in 
Chicago. 

Mr. Crunelle first w^on recognition through his models of babies. "The 
squirrel boy" is perhaps the most popular of his later studies. 

Christine Bennett say : ''His work has made for itself a permanent 
place and his future promises a fulfilment that will rank him among the 
greatest of American sculptors." (Arts and D. 1:406.) 

"Crunelle's art," said Lorado Taft, "reminds me of the purity and sim- 
plicity of the old Florentines. He rejoices in youth and in the spring- 
time of life." 

CuRRAN, Charles Courtney^ (P.) b. Hartford, Ky., February 13, 1861. 
Began to study art at the Cincinnati School of Design then became a 
pupil of the Art Students' League and the National Academy of Design 
of New York; later studied wath Benjamin-Constant and Doucet in 
Paris. In 1900 he became a member of the American Arts Commission 
at the Paris Exposition and was assistant director of fine arts at the 
Pan-American Exposition. Has taught at the Pratt Institute and Art 
Students' League. A member of the Society of American Artists and 
other art associations; elected associate member of the National Acad- 
emy of Design, 1888; academician, 1904. 

In 1888 his picture 'M breezy day" received the third Hallgarten prize 



68 

and his ^^Lotus lilies of Lake Erie" won honorable mention in the Paris 
salon of 1890. 

Among his most important canvases are: 

^^The sirens" ^'The enchanted shore" 

"The Peris" "The perfume of roses" 

"A deep sea fantasy" "Catching minnows" 

A series of twelve views of the Jungfrau. 

"His subjects include domestic genre and outdoor life, ideal groups 
and figures and compositions in which his imagination takes free play 
in the depiction of the fanciful realms inhabited by the fairies." (Nat. 
Oyc. Am. Biog.) 

"He enacts the doctrine that the truest appeal of oil and canvas should 

be almost as abstract as that of musical sounds He neither lays 

an undue emphasis on drawing nor on elaborate or super-refined color- 
ing, though clean and well-controlled in the former direction and clear 

and as a rule full of sunlight in the latter Rather he controls 

and marks his painting with the needed sentiment of peace and relish in 
man and nature." (Critic 48:39.) 

Daboi^ Leon^ (P.) b. Detroit, Mich., July, 1868, of French parents. Edu- 
cated at Saint Ann's school, Detroit; was also a student at Ecole des 
Arts Decoratifs and under Daniel Urabietta A'^ierge, Paris, and received 
instructions from Galliardi in Rome and Florence. Lived in Sicily, Sar- 
dinia and Corsica ; returned to the United States in 1892. Is represented 
in collections at Berlin, Dresden, London National Gallery, New York, 
Washington Museum of Art, Detroit and other American cities. 

The works of this "poet in color" for years were uniformly rejected by 
the juries of our American exhibitions as regularly as they were sent. 
But when M. Leonre B^nedite, director of the Luxembourg Museum, 
was in this country in 1907 he bore back to Paris in glad triumph for 
the Luxembourg one of Dabo's pictures that had been uniformly re- 
jected b3" our exhibitions. 

Artists like Edmond Aman-Jean and Auguste Rodin, critics like Paul 
Vallorbe and Camille Mauclair, poets like Maurice Maeterlinck and Aua- 
tol de Braz, and such responsibile authorities as M. Leonce Ben^dite 
of the Luxombourg and Alexander D. Goltz, president of the Modem 
Society of Painters, Vienna, have joined in appreciative praise of this 
painter. (Craftsman 13:261.) 

Most of Dabo's work has been done around New York bay and along 
the banks of the Hudson river. 

"Each picture is made up of a succession of harmonious tones which 
blend together in pleasing symphonic effects." (Brush & P. 17:3.) 



69 

Dabo is a spiritual impressionist. He paints the landscape as one for 
whom it has been transfigured by some vision. 

A few of his works are: 



>? 



"The Hudson, Fort Lee" "The Hudson near Kingston 

"The Hudson river'' "The cloud" 

"The Hudson in winter" "The sea" 

"The Weehawken basin" "Early morning, Hudson river" 

"Evening on the Hudson" "Golden days" 

"He is a mystic of color. He believes that colors have the power to 
invoke moods directly and also that by closing one's eyes at any moment 
one can see the color which is expressive of one's mood at just that time. 

"His preference in color is for iridescent shades, for subtle golds and 
soft blues and for the mystic darks of night. He avoids the garish 
hours of the day, and all obvious aspects of things ; he never wearies of 
trying to catch on the wing — with sense grown ever finer and keener 
those elusive, impalpable fleeting subtleties of color and light which 
give one the sense of spirituality so characteristic of his best work." 
(Louise M. Kueffner in Sewanee Eeview, 22:96.) 

Dabo^ Theodorh Scott^ (P.) b. Detroit, Mich., 1870, of French par- 
ents. Was educated at Saint Ann's school, Detroit. When his father, 
Ignace Scott Dabo (himself an artist) died in 1885, the family moved 
to New York City. Leon, the oldest son, went to work for a decorator, 
that this gifted brother, T. Scott, might study without turning his talent 
to commercial profit. For sixteen years the paintings of the brothers 
Dabo were refused admission to the art exhibitions in this country. Ed- 
mond Aman-Jean, the French painter, was the first to recognize the ar- 
tistic value of their work and took T. Scott to Paris where his canvases 
were accepted by the salon and he greeted as an artist of rare individu- 
ality and strength. 

Hartmann says: "The highest quality in Dabo's work is the result of 
inner, not outer vision." 

M. Henri Pene DuBois says : "T. Scott Dabo's works are hymns to 
nature. They are skies with vermilion mists exhaling praise as from a 
censer, marshes of melancholy, rivers of peace and forgiveness, fairy 
spectacles of land and water." Mr. DuBois also suggests Poe as a source 
of inspiration. Another saw in his work the influence of Mallarme. 
O'Ctave Mirbeau recently wrote that T. Scott Dabo had the charm of 
Puvis de Chavannes and the transparency of Carriee. 

Keproductions can give no adequate idea of the depth of light and 
charm in color in T. Scott Dabo's "Tour St. Jacques in the rain," or 
his "Evening on the Seine." 

''We are the painters of atmospheric conditions," they say: "every 



70 

thing in nature moves, we, therefore endeavor to paint movement." They 
make color a vehicle of music-like vibrations. (Int. studio 27 :174.) 

Daingebpieild^ Elliott^ (P., I., Mural P.) b. Harper's Ferry, Va., 
March 26, 1859. Studied drawing and painting in New York with a 
private teacher, also at the Art Students' League. First exhibited at 
National Academy of Design in .1880. Studied in Europe during 1897. 
Is professor of painting and composition at the Philadelphia School of 
Design. A member of the National Academy, 1906. A writer on art 
subjects. 

Mr. Daingerfield's productions are largely figure and landscape, and 
his studies are usually taken from rural life, the toiler of the field being 
his favorite subject. 

In his paintings, color quality and depth of feeling are the dominant 
features and pervade the rough exteriors in which his characters are 
dressed. (Nat. Cyc. Am. Biog.) 

Among his noted canvases are: 

^'Two women shall be working "The lost sheep" 

in the fields" "The mother" 

"My lady rhododendron" "A madonna of the fields" 

"Child of Mary" "Christ in the Avilderness" 

"A garden of dreams" "A wood-cutter" 

"Labor and plenty" "Story of the madonna" 

"Planting" "The tanagra" 

Was commissioned to paint the "Lady Chapel" of the Church of St. 
Mary the Virgin, New York, in 1902. 

"He is an imaginative painter with a strong sense of decorative beauty 
and he subordinates realistic facts to the effect of the ensemble." 

Dallin^ Cyrus Edwin^ (S.) b. Springville, Utah, November 22, 1861. 

The first eighteen years of his life were spent in the mountains of 
Utah. When only seven j^ears of age he attempted to model heads of his 
favorite Indian chiefs, and at the age of eighteen when sifting ore in 
the mines he modeled two heads in clay. These were so admired by the 
miners that they sent them to a fair in Salt Lake City. Two wealthy min- 
ing men in Utah saw the heads, became interested in the young genius, 
and made it possible for him to go to Boston where he commenced study 
with Truman H. Bartlett, the sculptor. Later he went to Paris and 
studied under Chapu and Dampt. While in France he became ac- 
quainted with Rosa Bonheur and during the time that Buffalo Bill- and 
his company of Indians were in Paris they — Dallin and the great French 
artist — worked together, frequently from the same model. 



71 

Mr. Dallin has made a remarkable series which tells the story of the 
Indian's relation to the white man : 

First, '^Signal of peace;" the welcome. 

Second, ''Medicine man ;" the warning. 

Third, ''The protest;" defiance. 

Fourth, "Appeal to the Great Spirit;" the last hope of the Indian. 

The fourth of the series — "The appeal to the Great Spirit" — was 
awarded the gold medal in the Paris salon of 1909. "This statue is one 
of the greatest pieces of sculpture in modern art and is comparable with 
the antique in its simplicty." (Arts & D 4:153.) 

"This series is an example of the sculptor's synthetic insight and his 
skilful interpretation of psychological moments." 

His bas-relief of Julia Ward Howe is commented on as being "of 
exquisite sincerity of line, a reticent self-contained work and an accurate 
likeness." (New Eng. M. 48:408.) 

A bronze statue of "Don Quixote" was exhibited in the Paris salon and 
critics refer to it as "one of the most delightfully original and imagina- 
tive of American sculptures. . It is conceived in an absolutely 

ideal spirit and is enveloped in an atmosphere of romance which is com- 
pletely in harmony with that of Cervantes." 

He modeled the gilded bronze angel which surmounts the spire of the 
Mormon Temple in Salt Lake City; also modeled the statue of Sir Isaac 
Newton, for the rotunda of the Library of Congress. 

His "Despair" is an extremely graceful nude. (New Eng. M. 21:196.) 

Dannat, William T., (P.) b. Hempstead, L. I., July 9, 1853. Going 
abroad at an early age, he was educated in art at the Koyal Academy of 
Munich ; studied also in Italy and Spain, after which he settled in Paris. 
No foreign painter has ever received greater praise from the French 
people. 

His first picture to attract attention was his celebrated painting en- 
titled "The quartette," exhibited in the salon of 1884. This picture was 
also exhibited at the Universal Exposition 1889 and was given a place 
of honor in the American section. It procured the artist the rank of 
chevalier in the Legion of Honor. He was elected officer, 1897; com- 
mander, 1900. Mr. Dannat is president of the Paris Society of American 
Painters and has been the recipient of numerous medals and diplomas. 

Popular paintings : 

. "After the mass" "Mariposa" 

"Otera" "Une Saduceenne"; woman in 

"Spanish women" white. 

"Aragonese smuggler" "Un profil blond" ; study in red. 
"A sacristy in Aragon" 



72 

''Degas is his ideal, and the study of artificial light his field of ex- 
periment.'' (Miither.) 

"In Mr. Dannat's work we find the qualities of the most gifted artists 
— a vision of singular acuteness and sensitiveness, a refinement and deli- 
cate intelligence, perfect command of the means of drawing and paint- 
ing and finally that taste and that aesthetic tact which enables him to 
avoid every excess whether of commonplace or of eccentricity — these 
two extremes on the verge of which the masterpiece is conceived and con- 
summated." (Child's "Art and criticism.") 

Albert Wolff voiced the current opinion when he declared Dannat's 
"Quartette" to be the best piece of painting in the salon of 1884. 

Davidson^ Jo (S.) Born in Russia, April, 1884. He came when very 
young, with his parents, to New York and grew up on the East Side, ex- 
periencing all the vicissitudes of poverty and genius. At fifteen he 
had begun to earn his living. When sixteen he won a high school scholar- 
ship for drawing and entered the Art Students' League, supporting him- 
self by doing burnt wood drawings. In 1905 he received his first com- 
mission for a "David" and two years later sailed to Europe, arriving in 
Paris with |40 in his pocket. 

In a short time he broke away from the academic precepts and the 
accepted form of art, for the subject of light and its effect on sculpture 
had begun* to interest him. He says that the first satisfactory result of 
his study of the relation of light to form was in the little group he calls 
"Rapture." 

A portrait bust of a Swiss girl was purchased by Mrs. Harry Payne 
Whitney. This success relieved financial pressure. A short time after 
this he sent the "Violinist" to the Autumn Salon, 1908, and it was ac- 
cepted. In 1910 he gave his first exhibition in New York City. He now 
exhibits in London, Paris and New York. 

Holbrook Jackson, the English author, has a very appreciative article 
in an English publication, T P's Magazine, on Davidson and his art. 
He says: "Jo Davidson stands for distinction and imaginative power 

among the best of the new sculptors He is a representative of the 

new individualism. He sings his songs in bronze and creates tone-poems 
in clay The sculptures of Davidson suggest classical statues trans- 
figured by actuality In "Earth" we feel the reawakening of the 

classical in the modern. The "Russian dancer" is motion caught on the 
wing and frozen into bronze. . . 

"Davidson's work is impressionistic, but it is not the impressionism 
of the painter. His art is more allied to impressionism in music than 
in painting — it has the same reflective emotion, the same self-contained 
sense of design. Whilst looking at his later work your mind is instinct- 
ively swayed by musical rhythm." 



73 

His most characteristic portrait busts are: John Duncan Fergusson, 
the Scotch painter; Eabindranath Tagore, the Bengali poet, Dr. Abra- 
ham Jacobi, the eminent New York physician, Mrs. Henry Wertheim 
and Miss Emily Grigsby. 

Davies^ Arthur B., (P.) b. Utica, N. Y., 1862. Keceived silver medal 
at Pan-American Exposition, Buffalo, 1901, and is a member of the New 
York Water Color Club. 

An art critic recently writing on the American art of the Metropoli- 
tan Museum of Art, New York, refers to the strange somnambulistic 
intensity of his "Dreams" "With an entire absence of color and its great 
beauty of tone, the sense of slow continuous movement secured not by 
the drawing of the figure itself, but by the imaginative composition of 
the background." 

Davis^ Charles Harold^ (P.) b. Amesbury, Mass., January 7, 1856. 
Very early he displayed marked artistic ability. Was a pupil of Otto 
Grundmann and the Museum of Fine Arts, Boston, three years; also 
studied under Lefebvre and Boulanger, Paris. Kemained in France ten 
years and exhibited in the salons during that time. Mr. Davis has 
resided at Mystic, Conn., since 1890. 

He is represented at Metropolitan Museum, New York, Corcoran Gal- 
lery of Art, Washington, Pennsylvania Academy of the Fine Arts, Phila- 
delphia, Art Institute, Chicago, Carnegie Institute, Pittsburgh, and has 
been awarded prizes and medals at many competitive exhibitions. He 
also received honorable mention in the Paris salon and in 1889 a second- 
class medal at the Universal Exposition, his works thereby becoming 
hors de concours. A member of the National Academy since 1906. 

He is one of the strongest American landscape painters. He gives the 
actual tone of the hour, whether it be sunrise, noon. or sunset, in which 
his own personality while evident does not crowd out the personality of 
nature. 

"Conquering light" is one of the most dramatic of his canvases and 
"September cloud" is quite beautiful. 

Among his most famous productions are: 

"Winter evening" "Rocky pasture" 

"Summer" "Oak boughs" 

"The brook" "The hillside" 

"Twilight hour" "Summer breeze" 

"The time of the red-wing black- "Autumn clouds" 

bird" 
Speaking of his works at a recent exhibition, a well-known critic 
said : "Everj^where is dash, freedom, personality, nature, charm." 



74 

In his pictures, Mr. Davis intends to record artistic sensations. ^'Each 
one lias a particular motif which has been rendered in a fresh spon- 
taneous and thoroughly pictorial fashion." 

''The science of his art is secondary to what he is trying to say, and in 
its entirety of science and art, of technique and sentiment, these pic- 
tures by Mr. Davis rank him among the great landscapists of the da}." 
(Brush & P. 4:122.) 

Deakin, Edwin, (P.) b. Sheffield, England, 1840. Keceived early edu- 
cation in his native town. From the outset of his career he had a fond- 
ness for landscape and architecture. After following his art in Eng- 
land and France he came to America and settled in Berkeley, Cali- 
fornia, and selected the Spanish missions of California as a specialty. 

Mr. Deakin began his work in 1870 and the series, comprising twenty- 
one missions, Avas completed in 1899. The series of structures painted by 
Mr. Deakin was begun under Father Junipero Serra, the leader of the 
Franciscans, Avho came to California in 1769. (Brush & P. 15:1.) 

Dearth, Henry Golden, (P.) b. Bristol, K. I., April 22, 1863. Pupil 
of Ecole des Beaux Arts; also studied with Morot and Merson. He 
won the Webb prize Society American Artists 1893; bronze medal. 
Paris Exposition, 1900 ; silver medal Pan-American Exposition, Buffalo, 
1901 ; Avas elected associate member National Academy in 1902 ; academi- 
cian in 1906. 

Mr. Dearth's specialty is landscapes on the Coast of Normandy. He 
has a home and a studio at Montreuil-sur-Mer in Pas-de-Calais, along 
the English Channel Avliere he works several months each year. The 
keynote of his work is simplicty. He suggests details. This is most 
apparent in his "Sunset in Normandy." His pictures have dignity and 
poetry. (Century 48:157.) 

Db Camp, Joseph Rodefer, (P., Mural P.) b. Cincinnati, O., Novem- 
ber 5, 1858. Studied art Avith Frank Duveneck, at the Cincinnati Acad- 
emy and at the Royal Academy, Munich. Later accompanied DuA^eneck 
and Whistler to Florence and Venice. Won first prize city hall decora- 
tive competition Philadelphia; Temple gold medal, Pennsylvania Acad- 
emy of the Fine Arts, 1889; receiA^ed honorable mention at Paris Exposi- 
tion 1900; gold medal at St. Louis Exposition 1904. Member of the so- 
ciety of Ten American Painters. Has been instructor in the Pennsyl- 
vania Academy of the Fine Arts and a member of the faculty in the 
schools of the Boston Museum of Fine Arts. 

Mr. DeCamp is knoAvn chiefly from his portrait and figure painting, 
although his landscapes are among the finest painted by American artists. 

For years he has had steady patronage from soldiers, statesmen, 
musicians, artists, w^riters and educators. His portrait of Col. Roose-. 



75 

velt which he was commissioned by a committee of the members of the 
class of 1880 at Hansard to paint and which hangs in Memorial Hall at 
Cambridge, is considered a wonderful achievement. Mr. DeCamp's work 
is not frequently seen in New York except at exhibitions of the Ten 
American Painters. 

Arthur Hoeber, the art critic, says : ''None of the modern painters, 
either in this country or in Europe is better equipped technically than 

is Joseph DeCamp He draws ^dth academic correctness, has a 

thorough knowledge of anatomy and construction and for facility of 
brush work yields to no one." 

Julia de Wolf Addison says that one of the best pictures ever painted 
by Joseph DeCamp is owned by the Boston Museum of Fine Arts — 
^'Guitar player." 

Popular figure paintings are : 

''The blue cup" 'The window" 

"The pink feather" "The violinist" 

"The gray turban" 

De Havens, Frank, (P.) b. Bluffton, Ind., December 26, 1856. With 
money he earned at the age of sixteen he bought his first box of paints. 
In 1886 he went to Xew York and became a pupil of George H. Smillie. 
He won the Inness prize in 1900 ; Shaw prize, 1901, and received hon- 
orable mention at the Pan American Exposition, Buffalo, 1901. Elected 
associate member of National Academy in 1902. 

His "Moonrise and sunset" he regards as his most important work. It 
has warm color and a hazy glow — the russet of autumn, lighted by the 
sinking sun. "Autumn twilight'- with its deep clear blue sky, in which 
the evening star twinkles near the horizon, is full of mystery. "A Maine 
farm" is a study of early autumn with tJie neutral atmospheric grays of 
the waning year. His "Winter night" and "Indian summer" are in direct 
antithesis. 

His versatility is simply another expression for his breadth of interest, 
and his various tonal schemes for his mastery of color. 

"His subjects are simple and poetical, the last glow of the sun. a windy 
day, a threatening sky, or struggling clouds throwing a stream of light 
on the plain, furnish the principal themes of his pictures." — Hartmann. 

"'His chief interest is to manipulate his color so as to make his canvas 

the means of imparting an emotion His scenes are bona fide 

scenes, simple bits in which he has seen beauty ; and the emotion he seeks 
to arouse is the genuine emotion that he himself has experienced and that 
he strives to make others feel." (Brush & P. 17:179.) 

Db Kay, Helen A. (Mrs. R. W. Gilder), (P.). It was in Miss DeKay's 
studio that on June 1, 1877, she with Augustus Saint-Gaudens, Wyatt 



76 

Eaton and Walter Shirlaw met and organized the Society of American 
Artists. 

Mrs. Gilder has retired from the profession but Isham in writing of 
her pictures says : "She showed a charming feeling for subtle color in 
her ideal heads and especially in her flower studies.^' 

Deiming^ Edward Wiljlard^ (P. I., Mural P.) b. Ashland, Ohio, August 
26, 1860. Studied in the Art Students' League and under Boulanger 
and Lefebvre, Paris. 

Mr. Deming's work divides itself into painting, mural decoration prin- 
cipally, and modeling. 

It is in his pictures illustrating Indian folk-lore that Mr. Deming 
takes the greatest interest. ''The Hiawatha legends are the subject of 

his most charming canvases he delights in scenes in which there 

is the mystery of twilight." (Craftsman 10:150.) 

"Perhaps no one has more exquisitely revealed the first blush of dawn, 
the majesty of moonlight, the changing gray of twilight, the tragic depths 
of loneliness in the first daybreak in woods and prairies." (Craftsman 
21:456.) 

The buffalo frieze in the residence of Mr. Ernest Thompson Seton, by 
Mr. Deming, is a transcript of the open plain "under the unappeasable 
sun of the southwest." (Int. studio 27:xv.) 

Mr. Deming has illustrated many stories and books dealing with In- 
dian life. He is now engaged in painting panels of Indian scenes for 
the American museum of natural history. The panels are eight in num- 
ber and will illustrate the history of the principal tribes. 

Deissar, Louis Paul, (P.) b. Indianapolis, Ind., 1867. Studied at the 
National Academy in 1886; later went to Paris and studied under 
Bouguereau and Robert-Fleury and at the Ecole des Beaux Arts. 

Awarded third-class medal salon 1891; received honorable mention 
Carnegie Institute, Pittsburgh, 1897; second Hallgarten prize National 
Academy, 1900; bronze medal, Paris Exposition, 1900; an associate mem- 
ber National Academy, 1900; full member, 1906. 

An artist with a most delicate color sense. Paints the decorative land- 
scape rather low in key, rich in color, and paint laid on solidly. 

It is by his sheep pictures that he is best known in this country. 
"Evening" was one of the prize pictures at the Columbian Exposition, 
Chicago, 1893. 

Among his well-known works are : 

"Going home" "Nocturne" 

"Return of the flock" "Moonrise" 

"The fold in the woods" "Clearing after the rain" 

"Ploughing" 



77 

His wife is the original of the charming subject "Elizabeth." 

"He does not seem to care so much for composition or for assimilating 

the ingredients of the scene and representing them in synthetic form, 

as for surface play of color in certain portions of the picture. (The 

artist, 24:lix.) 

"He is fond of the atmospheric effects of sunset and moonrise, and 

often finds an aid to his composition in his interest in animal life." (Int. 

studio 27:lxvi.) 



Deiwey^ Charles Melvillei^ (P.) b. Lowville, New York, July 16, 1851. 
As a child he displayed artistic talents, earning the money for his first 
painting materials by building the fire in the country schoolhouse. In 
1874 he went to New York and became a pupil in the National Academy ; 
two years later he went to Paris and entered the atelier of Carolus- 
Duran and was honored in being selected as one of three pupils to assist 
his master in the decoration of the "Plafond" of the Louvre. He re- 
turned to the United States and opened a studio in New York in 1878. 

He early became known as a truthful delineator of familiar phases 
of American landscape. 

"His landscapes are synthetic in treatment, for he seeks to interpret, 
rather than to transcribe an effect." (Nat. Cyc. Am. Biog.) 



Characteristic paintings are: 

"Edge of the forest" 
"The close of day" 
"The queen of night" 
"An autumn pastoral" 
"The star and the shadows" 



"Gray robe of twilight" 
"Kiver at night" 
"Eeturn of the hay boats" 
"The harvest moon" 



His pictures have a liking for the subdued light of morning and even- 
ing, the trees massed dark against the sky, the depth and mistiness of 
the tw^ilight foliage and the glow of the twilight sky. 

Dewing^ Maria Oakley, (Mrs. T. W. Dewing) (P., I.) b. New York, 
October 27, 1857. Pupil of National Academy of Design and John La- 
Farge in New York; Courtois in Paris. Received bronze medal at Pan- 
American Exposition, Buffalo, 1901. 

Specialty : Figure and flower pieces and portraits. 

Dewing, Thomas Wilmer, (P., Mural P.) b. Boston, Mass., May 4, 
1851, Pupil of Boulanger and Lefebvre in Paris. Won the Clarke prize, 
National Academy of Design, 1887 ; silver medal, Paris Exposition, 1889 ; 
Lippincott prize, Pennsylvania Academy of the Fine Arts, 1906 ; first 
medal, Carnegie Institute, 1908. Member of Ten American Painters. 



78 

Elected a member of the National Academy of Design in 1888. 

^'The exquisite poem 'In the garden' is one of the few perfect master- 
pieces which American figure painting has produced. 'The south wind' 
is a very beautiful allegorical conception." 

Characteristic paintings are : 

''Sorcerers" "Before sunrise" 

"The blue dress" "The carnation" 

"After sunset" "The garland" 

"Yellow tulips" "The mirror" 

"Girl with lute" "Early portrait of the artist's 

"A lady playing the violincello" daughter" 

"The spinet" 

"The quality in Dewing's work which appeals to me [Hartmann] be- 
yond every other, is its personal character; it reflects the man's mind, 
that of a refined epicureanism, choosing naturally to live among dainty 
surroundings and beautiful women." 

Caffln says : "The technical summary of Thomas W. Dewing's work is 
impressionism, based upon skilful draftsmanship and the facile interpre- 
tation of a color sense, not catholic, but deeply felt." 

Dewing paints amber-toned interiors. 

DiEi.MAN, Freoderick, (Mural P., I. E.) b. Hanover, Germany, Dec. 
25, 1847. Came to the United States in childhood. Graduated at Cal- 
vert College. His first artistic work that appeared was entitled "A 
scene from a confederate raid in Maryland," and this was published 
when he was sixteen years of age. He studied art under Diez at the 
Royal Academy, Munich, returned to New York in 1876 and opened a 
studio there. 

Mr. Dielman was one of the founders of the Society of American 
Artists, and was elected a member of the National Academy of Design 
in 1883; also was one of the founders of the New York Etching Club; 
was president of the National Academy of Design 1889-1909; professor 
of descriptive geometry and drawing in College of New York since 1903. 

He has contributed largely to the illustration of current fiction in 
leading magazines, and in editions de luxe of the works of Longfellow, 
Tennyson, Eliot, Hawthorne and others. 

Mr. Dielman is a well-known designer of mosaic and mural work; his 
panels "Law" and "History" in the Library of Congress, the large mo- 
saic "Thrift" in the Albany Savings Bank and six mosaics in the state 
capitol at DesMoines, la., rank with the best in this line of art in 
America. 



79 

Mr. Dielman also paints in oil, the subjects chosen being nsually genre 
or historical. A few are : 

^'The marriage of Francis Le ^^Old time favorites" 

Baron" "A girl I know" 

''The Mora player" 

His ''Pomona," "Gabrielle" and "Christine" are dainty bits of exe- 
cution. 

DiLLAYE. Blanche, (P., I., E.) b. Syracuse, N. Y. Educated at Ogontz 
school. Studied art in the Pennsylvania Academy of the Fine Arts and 
in Paris; a pupil of Stephen Parrish in etching; has exhibited in Paris 
salons, and in England, as well as at all the principal exhibitions in the 
United States. Received silver medal for etching, at Atlanta Exposition, 
and at Universal Exposition at Lorient, France, 1903. She is repre- 
sented in art collection of Syracuse, N. Y. ; is vice-president of Phila- 
delphia Water-color Club ; member of Women's Art Club, New York ; 
Women's Art Association in Paris; first president of Plastic Club. 

Miss Dillaj^e has a penchant for odd nooks and narrow alleys — a 
^'Quebec sail loft," being very characteristic. 

Dix, EuLABEE, (Min. P.) b. Illinois, October 5, 1879. Pupil of St. 
Louis School of Fine Arts, William J. Whittemore and I. A. Josephi 
in New York. 

''Jewel-like color resembling the earliest stained glass is the effect Miss 
Dix has most zealously striven for. In the miniature of Mrs. Michael 
Dreicer the sitter is clothed in emerald green, a color which contrasts 
most effectively with her reddish brown hair. The miniature of Mark 
Twain in a gown of an Oxford doctor of letters shows a prevailing tone 
of gray, the broad red band of the gown lighting the whole picture. The 

miniature of Mrs. Purdon-Clarke is exceedingly beautiful Miss 

Dix's sense of color values is peculiarly happy." 

"Miss Dix thoroughly understands the art of miniature painting as 
distinct from portrait painting "in the large." (Int. studio 40 :sup. 
xciv.) 

"Eulabee Dix paints in the careful style of the old miniatures." 

Dodge. William de Leftwich, (Mural P.) b. Liberty, Va., March 9, 
1867. Studied in Munich and with Gerome in Paris. Received two third 
class medals and prix d'atelier while studying with Gerome; two medals 
Cours Yvon ; medal at Paris salon, 1888 ; gold medal prize fund exhibi- 
tion. New York, 1886; bronze medal Paris Exposition 1889; also medal 
at Columbian Exposition, 1893. Member Society of Mural Painters. 

Mr. Dodge has executed mural paintings in the Library of Congress 
and in many New York Citv hotels. 



8.0 

DoDSON^ Sarah Paxton Ball^ (P.) b. Philadelphia, Pa., 1847; d. 
Brighton, England, August 8, 1906. First began art studies in the 
Pennsylvania Academy schools in 1872. Her training was continued in 
Paris where for three years she worked under Evariate Vital Luminals 
and afterward under Jules Lefebvre, enjoying also the privilege at a later 
period in her career of criticism from Boutet de Monvel. Her first pub- 
licly exhibited work was "L'amour menetrier" shown in the Paris salon 
of 1877. Her decorative painting "Pax Patriae" was an especial feature 
of the Pennsylvania state building at the Columbian Exposition, "ha. 
dance" is an exemplification of her early style and "Deborah," recently 
acquired by the Corcoran Gallery of Art, Washington, D. C, well repre- 
sents the second period of her art development. Her most important 
historical work is "The signing of the Declaration of Independence in 
the state house, Philadelphia, Fourth of July, 1776," and "The invocation 
of Moses" in Saint Bartholomew church, Brighton, England, is her most 
important decorative work. In her landscapes "there is a marked deli- 
cacy of feeling." 

"Her limitations were the limitations of her temperament. In her 
painting there can be heard no strident call for recognition, but always 
the soft voice of beauty makes last appeal Through each suc- 
ceeding step of her artistic growth there is a sj-mpathetic intimacy with 
the more subtle truths of nature." (Int. studio 45 :sup. xxxvii.) 

DO'LPH, John H. (P.) b. Fort Ann, N. Y., April 18, 1835; d. New York 
City, September 28, 1903. He studied portrait painting with Allen 
Smith at Cleveland; began his career by painting portraits in Detroit 
in 1857 and went to New York a few years later. Going to Europe he 
studied animal painting under Van Kuyck at Antwerp, specializing on 
horses. In 1875 he painted a Persian cat which was greatly admired, 
and from that time he painted cats and dogs almost exclusively. 

He was made an associate member of the National Academy of Design 
in 1877, and full member in 1898. 

An art critic has written : "Dolph's cat pictures are second only to 
Brown's bootblacks though from the technical side Mr. Dolph's work 
ranks much higher. In what the painters call qualities^ — the representa- 
tion of texture^ — he is particularly successful. When he puts one of 
his cats on a piece of velvet you rather feel that it is velvet." 

Dolph's cats are as famous in America as are Bonner's in Europe. 

DoNOGHUE^ JoHN^ (S.) b. Chicago, 111., 1853; d. New Haven, Conn., 
July 3, 1903. Of very humble parentage ; had a short period of art study 
at the Academy of Design, Chicago; later studied with Jouffroy in the 
Ecole des Beaux Arts, Paris. Exhibited a head "Phaedra" in the salon 
of 1880 and returned to Chicago the same year. When Oscar Wilde 



81 

visited this country in 1882 he called attention to Donoghue's artistic 
promise and through his efforts Donoghue was able to return to Europe 
the following year. Received honorable mention in the Paris salon of 
1886. In Rome he produced a number of remarkable works. "Young 
Sophocles" undoubtedly his highest inspiration, stands among the most 
perfect examples of ideal sculpture yet produced by an American. 

It was Donoghue's dream to be represented in his native city by a 
great work of art. He conceived the idea for an immense statue to be 
known as "The spirit." (Milton is said to have been the inspiration.) 
This colossal statue was intended for the Columbian Exposition, 1893. 
Arriving too late, no arrangements were made to receive it in New York 
and it was left on the dock. The artists could not pay the transporta- 
tion bill. This and the failure to show his work in public caused him 
grevious disappointment. He lost enthusiasm and ambition and but 
little was known of him until his dead body was found on the shores of 
Lake Whitney, near New Haven, Conn., he having committed suicide. 
(Taft's "History of American sculpture.") 

DoNOHO, Gaineis Rugek, (S., p.) b. Church Hill, Miss., 1857. Pupil 
of Art Students' League of New York and R. Swain Gifford, Lefebvre and 
Boulanger. 

Received silver medal at Paris Exposition 1889. 

Kenyon Cox says : "Mr. Donoho is a painter Avho has produced too 
little and exhibited too little of what he has produced, but this picture 
[''La Marcellerie"] decoratively designed and closely studied shows us a 
talent at once robust and fine." 

Another critic refers to the same picture as fully up to the best salon 
standards and especially as "being beautifully painted," 

1)01 GHEKTY, Paul, (P.) b. Brooklyn, N. Y'., September 6, 1877. Gradu- 
ated from the New Y^ork law school, 1898. Soon after he decided to 
abandon a legal career and pursue art. He studied perspective and form 
under Constantin Hertzberg and then traveled; and later studied art 
five years in Paris, London, Florence, Venice and Munich. It is by his 
marines that he won fame. 

International studio 36 :iii says of him and his art : "Never anecdotal 

he is always picturesque He would in rock representation show 

compactness and texture so clearly that its geological history may be 
read by a scientist. He would in ocean convey a profound impression 
of its depth, its latent cruelty and its almost resistless and rhythmic 
power of wave. "Northern sky" suggests the tremendous speed of a high 
billow hurled at a towering rock mass with the fury of the whole ocean 

behind it More wave history is told in "The cleft." "The Twisted 

ledge" is a study in perspective of rock form "The black wave" 

11 



82 

represents the dynamics of ocean currents The nearest ap- 
proach to impressionism is ''Sun and storm" Mr. Dougherty 

should not be judged entirely as a painter of marine; cloud, mountain 
and plain as well as rock, sea and sky have been depicted by him." 

"Better than others has he interpreted atmospheric effects on luminous 
spray— the evanescent charm of the ever-changing sea." (Art & P. 2:7.) 

His "Land and sea" is in the Corcoran Gallery of Art and his "Sun 
and mist" is in the National Gallery. 

"Paul Dougherty in his "Rock channel" shows us that he understands 
the placid beauty of undisturbed blue waters as well as the splendor 
and terror of Cornwall storms." (Craftsman 24:315:) 

A member of leading art clubs ; elected associate of the National Acad- 
emy of Design, 1906; academician, 1907. 

DuFNBR^ Edward^ (P.) b. Buffalo, New York. Studied art in Madrid, 
and was a pupil of Whistler and Laurens in Paris. Received honor- 
able mention in the Paris salon of 1902. Is a member of the Paris Amer- 
ican Artists Association, New York Water Color Club, and many other 
leading art clubs. Elected associate member of the National Academy 
in 1910. Instructor in the Art Students' League of New York. 

Most important work is "Portrait of a young lady in pink." 

DuNLAp^ Mary Stewart^ (P.) b. in Ohio. Now resides in Pasadena, 
California. Her first art studies were in New York after which she spent 
four years in Paris at the academies Delecluse and Whistler. She 
sketched and painted in oil and watercolor through Brittany and Nor- 
mandy. Her work in Paris was followed by artistic pilgrimages to Rome 
and Florence. Returning to the United States she decided to make 
Southern California her home. 

"Her delineation is elusive to the point of impressionism; it is rather 
the spirit of a certain hour of a certain day that she wishes to record 

Nature in Miss Dunlap's paintings does not necessarily mean 

a literal representation of natural objects Her work suggests 

rather that the color and the atmospheric transitions of nature are a 
worthier subject. In Pasadena she found a field for a wider diversity 
of material she is most desirous of interpreting — the portrayal of tran- 
sient color effect." (Int. studio 4:5:xxiii.) 

DuvEiNEiCK, Frank^ (P., S., E., Mural P.) b. Covington, Ky., 1848. 
When eighteen years of age he was employed by a church decorator in 
Cincinnati and soon became an exceedingly valuable assistant. In 1870 
he went to Munich and entered the Royal Academy. After three months' 
work in the antique class under Strahuber, he was admitted to the paint- 
ing class of Prof, von Dietz. His progress was looked upon as phenom- 



83 

enal; he took all prizes of the academy from antique drawing to compo- 
sition. In 1878 he opened a school of painting in Munich which became 
so popular that when he decided to go to Florence, nearly half of his 
pupils insisted on going with him; so he continued his classes in Flor- 
ence and Venice for two years. 

He has received a number of medals and honors of many kinds. He 
was elected member of the National Academy of Design, New York, in 
1906. Since returning to Cincinnati, he has devoted much time to teach- 
ing a painting class in the Art Museum of that city. 

Typical works are: 

^'Turkish page" ^'The woman with forgetmenots" 

"Whistling boy" "Venetian shrine" 

"Man with ruff" "Interior of St. Marks, Venice" 
"Prof. Loefftz" 

In addition to painting and etching, he has done some remarkable 
work in sculpture, receiving an award in the salon for a monument he 
made to his wife. His mural decoration in the new Catholic cathedral 
Covington, Ky., is spoken of as being a serious and dignified piece of 
work. 

"Duveneck's works with the paint brush are, with few exceptions, 
distinctly paintings in the complete and full sense of the word, because 
they are emphatically made with paint and the paint brush and not 
drawn and colored. It is the expressive use of the paint brush itself 
that is a large factor in the artistic value of his work." (Arts and D, 
July, 1911.) 

Eakins, Thomas, (P.) b. Philadelphia, Pa., July 25, 1844. Studied 
art in Philadelphia, at the Ecole des Beaux Arts, the Atelier Bonnat, 
and under Gerome and Dumont in Paris. 

He has received many medals and prizes. Was elected a member of 
the National Academy of Design, New York, in 1902. Instructor in the 
Pennsylvania Academy of the Fine Arts. 

Since his return to the United States he has taught in life classes, 
lectured as demonstrator of anatomy and become professor of painting 
and director of the Pennsylvania academy. 

His pictures are very varied in their subjects. He has painted many 
small pictures of domestic scenes in the early days of America, of Ameri- 
can sporting and athletic games, studies of the American negro charac- 
ter and also portraits. 

" Eakins with a like grasp of the personality of his sub- 
jects and an even greater enjoyment of the picturesqueness of their 
attitudes and apparel, yet fails of the popular appreciation that he 



84 

merits because of his neglect of the beauties and graces of painting — not 
the beauties and graces of his subjects." (Isham.) 

''Cello player" and ''Salutat" are finished paintings and better indi- 
cate his power as an, artist than the ''Dancing lesson" and portraits 
earlier exhibited." (Brush & P. 6:130.) 

Eaton, Charles Harry^ (P., I.) b. near Akron, O., December 13, 1850, 
d. Leonia, N. J., August 4, 1901. As a painter and illustrator, was self- 
taught. First exhibited at the National Academy of Design, New York, 
1881. Received silver medal, Boston. Associate member of the National 
Academy, 1893. Won the Evans prize in 1898 with his painting "The 
brook," and received the gold medal of the Art Club of Philadelphia for 
his "Willows," in 1900. "Lily pond" is another popular picture of his. 

Eaton^ Wyatt, (P.) b. Philipsburg, Province of Quebec, Canada, May 
6, 1849. Studied art in New York at the National Academy of Design 
before going abroad in 1872. He spent a few weeks in London where 
he met Whistler, then went to Paris where he worked under Gerome; 
made the acquaintance of Millet, also Munkaczy. For four years his 
time was divided between Paris and Barbizon, in the forest of Fon- 
tainebleau. 

In his "Hay makers" Ave trace the influence of Millet and Bastien- 
Lepage. 

While in France he painted figure subjects, landscapes and portraits, 
exhibiting in the salon of 1874 his "Reverie" and two years later his 
"Harvesters at rest." In 1876 he returned to America and became a 
teacher in the life and antique classes in drawing at Cooper Institute 
and was active in the formation of the Society of American Artists. 

Upon his return to America his first important works were portraits 
from life of Bryant, Longfellow, Emerson, Whittier and Holmes. His 
portrait of Mrs. R. W. Gilder and painting entitled "Man and violin" 
have an undisputed place among the best pictures produced in this 
country. 

"His characteristic note was not strensth but rather delicacv of feel- 
ing: feeling for tone and color in his "Reflection," feeling for grace in 
his little classic figures, feeling for character in the crayon heads that 
he did of Emerson and Holmes and Whittier and others." (Isham.) 

Eberle, Abasteinia St. Leger, (S.) b. in Iowa, April 16, 1878. Studied 
sculpture with George Grey Barnard and Gutzon Borglum. 

Miss Eberle was an accomplished musician which line of artistic en- 
deavors she abandoned for sculpture. There is a touch of mystery and 
grace prominent in her small works, as in "The dancer" where the Avind 
of her movements draws her flying draperies against her body. This 



85 

work Avas sold at the International exhibition in Venice, 1909. '^Windy 
doorstep" won the Helen Foster Barnett prize. In ''L'Isolee" we have 
the nude; in ''Bacchante" a classic theme; and in ''Indian Fighting 
Eagle" we see the aboriginal portrayed in a dramatic manner. 

The rendering of motion especially appeals to Miss Eberle. She says : 
"If I were a painter, I would be an Impressionist." 

Her collaborations with Miss Anna Vaughn Hyatt have received com- 
mendation and praise from those qualified to pass upon their artistic 
merits. 

Giles Edgerton says : "One of the most impersonal of the women sculp- 
tors is Miss Abastenia St. Leger Eberle. Her work does not suggest an 
effort to overcome a feminine point of view or to ape the masculine way 
of achievement. She just seems to present people, little children, old 
beggar women, Indians, more absolutely than individually." 

"Miss Eberle is interested in settlement work and makes many jour- 
neys to the East Side, and is perfectly acquainted with the youngsters 
whose natures she reveals to us in bronze. "Coal picker" and "Rag 
gatherer" give the somber aspect of her work." (Arts and D. 2:105.) 

Elliott^ Charles Loring, (P.) b. Scipio, Cayuga Co., N. Y., December, 
1812; d. Albany, N. Y., September 20, 1868. Became a pupil of Trum- 
bull and painted portraits while still a young man; opened a studio in 
New York early in his career. Was elected associate member of the 
National Academy of Design in 1845, and full member in 1846. Is said 
to have painted more than seven hundred portraits of eminent people. 
At the exhibition of the National iicademy in 1868-69 many of his paint- 
ings were shown, including : 

"Don Quixote" 

"Palstaff" 

"Andrew Van Corlear, the trumpeter" and 

"The head of Skaneateles Lake," the only landscape he ever painted. 

Tuckerman says : "No one can mistake the rich tints and vigorous 
expression, the character and color which distinguish Elliott's portraits." 

Elliott stands among the first American portrait painters, especially 
for old and character heads. His portrait of Fletcher Harper is con- 
sidered by artists and critics to be a masterpiece, and the committee 
who selected American pictures to be sent to the Paris Exposition 
unanimously chose it as a typical and clever American portrait. 

Elliott, John, (P., L, Mural P.) b. England, April 22, 1858. A 
student in the Julien Academy ; also pupil of Carolus Duran and of Jose 
de Villegas at Rome. While in Rome he painted his first important 



86 

mural decoration, and occupying apartments witli Mrs. Elliott's cousin, 
F. Marion Crawford who had collected many death masks, he was fascin- 
ated with one of Dante. Two pictures of Dante in exile were the result ; 
one of them now hangs in the living room of Queen Margherita of Italy, 
the other, in the home of Mrs. J. Montgomery Sears of Boston. 

A pastel study of Dante thrown into a waste basket and rescued by 
Mrs, Elliott, is now better known than either of his paintings, and in 
reproduction has gone all over the world. 

His great mural painting, "Diana of the tides" for the National 
Museum in Washington, D. C, was painted in Rome. "The vintage," 
frieze and ceilings in the home of Mrs. Potter Palmer, Chicago, and 
"The triumph of time," ceiling decoration for the children's room in the 
Boston Public Library are his most notable mural decorations in 
America. 

Twenty-four pastel drawings made to illustrate Mrs. Anderson's fairy 
tale "The great sea horse" were exhibited in America. 

Of his portrait of Julia Ward Howe, it is said : "The picture is utterly 
simple It is tender, reverential, a sweet and solemn glorifica- 
tion of old age, and of the old age of a distinguished spirit." He said 
"I was painting the author of "The battle hymn of the republic." 

Mr. Elliott made the well-known silver-point portrait of the late King 
Humbert which Queen Margherita carries with her on all her journeys. 
(Everybody's M. 23:95.) 

Mr. Elliott has been honored with several decorations. (Arts & D. 
2:359.) 

Elwell, Frank Edwin^ (S.) b. Concord, Mass., June 15, 1858. Studied 
in the United States under Daniel Chester French, and in Paris at the 
Ecole des Beaux Arts and under Jean Alexander Falguiere. He is a 
member of the Institute of France; has exhibited in the Paris salon, 
Royal Academy, London, Royal Exhibition, Brussels, Philadelphia Art 
Club and Pennsylvania Academy of the Fine Arts, Philadelphia. 

Mr. El well enjoys the distinction of being the first American sculp- 
tor who modeled in America a statue to be erected in Europe. 

Best known works are: 

"Death of strength," a monument at Edam, Holland; 

Bust of Lord Provost of Aberdeen; at Aberdeen, Scotland; 

Equestrian statue of General Hancock, at Gettysburg; 

Monument of Edwin Booth at Mount Auburn, Cambridge, Mass.; 

Two fountains — "Ceres" and "Kronos" — at Pan-American Exposition; 

Statue of Dickens and Little Nell, Fairmount Park, Philadelphia; 

Busts of Levi P. Morton and Garret A. Hobart in the senate chamber 
at Washington, D. C. 



•87 

Was associate editor of the Arena magazine and also compiler of the 
first history of American scnlpture. 

At an exhibition of the Cincinnati Art Club, of which M. Elwell is an 
honorary member, was shown his bronze statue "The orchid." ''A beau- 
tiful young woman in a dancing attitude is gracefully poised on one 
foot, which hardly seems to touch the earth. The upward action of the 
arms, the spring of the foot and the suggestive airiness of the drapery 
all tend to convey the idea that she is of the air, as is the orchid." 
(Brush & P. 6:76.) 

Emmet, Lydia Field, (Min. P., I.) b. New Rochelle, N. Y., 1866. Pupil 
of Bouguereau, Giacomotti, Robert-Fleury, Collin and MacMonnies in 
Paris; Chase, Mowbray, Cox and Robert Reid in New York. Associate 
member National Academy of Design, 1909. 

Won many prizes and medals. 

''Miss Emmet's color is exquisite and her daring but positive use of 
vermilion is unusual. Nearly every one of her miniatures might be called 
a flower of portraiture, for these dainty things suggest gardens of lilies 
and lilacs." (Brush & P. 6 :26.) 

"She is a painter of aristocracy, of the American aristrocracy, which 
is distinct from any other. Her women have intellect, her children 

health Miss Emmet has successfully conquered the matter of 

grouping before which so many other painters have met with disaster." 
(Guy du Bois.) 

"Olivia" won honorable mention at the last exhibition of the Carnegie 
Institute. 

"Her child portraits invariably carry conviction and have pictorial 
charm ...... Her brushwork is strong and her treatment of surfaces 

and textures adequate." 

Enneiking, John Joseph, (P.) b. Minster, O., October 4, 1841. Was 
educated at Saint Mary's College, Cincinnati, receiving his first lessons 
in drawing from Bishop Rosecrans, then principal of the institute. 
Served in the U. S. army during the civil war. Took up mercantile pur- 
suits in 1865. Went to Europe in 1872 and studied art with Schleich 
and Lier, Munich, and special figure painting with Bonnat and Daubigny, 
Paris; later took up landscape under the advice of the latter. Returned 
to Boston, 1874. Has won several silver and gold medals in America. 

He excels in depicting New England landscapes and among his best 
works may be mentioned 

"Summer twilight" "Calf in the lane" , i 

"Cloudy day in summer" "The clam-digger" 

"Indian summer" "The brook" 

"November twilight" "Sheep and lambs" 
"December thaw" 



88 " ; ■ 

His earlier but much admired works are : 

"Moonlight on the Giudecca" "Farm yard scene in France" 

"Venice" "The Obersee" (considered by 

"Freshly picked" some to be his best) 

Mr. Enneking is a colorist, but not a riotous colorist. He does not 
startle, he satisfies He is acknowledged to have created, ar- 
tistically speaking, the "November twilight." 

He is one of the most individual of American painters, and withal one 
of the most developed and rounded of personalities. (Brush & P. 10 :335.) 

Frederick W. Coburn says : "His ideal is the picture that shall be the 
perfect expression, not of a locality, but of a thought." 

EzEiKiEL, Moses Jacob, (S.) b. Richmond, Ya., Oct. 28, 1844. Gradu- 
ated at the Virginia Military Institute in 1866 ; studied anatomy at the 
;Medical college of Virginia. In 1869 he went to Europe, entering the 
Royal Academy of Art in Berlin and remaining there until 1871, work- 
ing later in the studio of Prof. Albert Wolf. 

In 1872 he was admitted into the Society of Artists, Berlin, on the 
merits of a colossal bust of "Washington," and in 1873 with his 
"Israel" he gained the Michaelbeer prize, a stipendium for two years 
study and residence in Italy. He was the first foreigner to win this 
prize. 

The Emperor of Germany and the Grand Duke of Saxe-Meiningen have 
conferred upon him the cavalier crosses for merit in art and science; 
the King of Italy bestowed on him the cross of an "Officer of the Crown 
of Italy" ; he has won the gold medal of the Royal Association in Paler- 
mo, the Raphael medal at Urbino, and is a member of the Societies of 
Artists in Berlin and Rome, and of the xlcademy of Raphael in Urbino. 

Since 1874 he has resided in Rome, where his studio itself is a notable 
place. 

Mr. Ezekiel's first important work, a marble group representing "Re- 
ligious Liberty" is now in Fairmount Park, Philadelphia. His "Thomas 
Jefferson" is in Louisville, Ky., and a series of eleven statues of famous 
artists, in Carrara marble, decorate the Corcoran Gallery of Art, Wash- 
ington, D. C. 

The development of patriotic themes is a specialty of this sculptor. 
"It is probable that in sounding this greatest and best chord of human 
nature, patriotism. Sir Moses Ezekiel touches and holds his highest 
level." (World's W^ork, 19:12255.) 

He has made many busts of beautiful women scattered throughout 
Europe and America, but none really so perfect as that of the Dowager 
Queen of Italy. His "Napoleon" is a notable work. The late F. Marion 
Crawford called it the history of Napoleon, and Cesareo, the Sicilian 
poet and art critic, writes of it : "Rarely or never has the tragedy of 



89 

Napoleon been signified with more severe sorroAV, with, such intense 
truth, with more heroic grief, than in the sculpture of Ezekiel." 

Liszt, who had a personal acquaintance with all the best artists of 
Eome, selected Ezekiel to make his portrait-bust for the Academy of 
Music at Pesth. Cardinal Hohenlohe, an intimate friend of Liszt, also 
an authority on art, after having viewed the work critically, turned to 
it again on leaving the room, and said, ^'Adieu, Liszt I I thus hand thee 
down to posterity." 

An Italian publication, '^Publica Opinione," closes a critical review of 
Mr. Ezekiel's works with these words : ''We conclude this brief notice by 
expressing our admiration of the great American sculptor in whom we 
feel Italian pride because his genius was cultured beneath our sky, and 
was inspired by our great men to become more great." 

Fairbanks, Avard^ (S.) b. Salt Lake, Utah. As a child he camped in 
the mountains with his father and brother and came to know much 
about wild animals. He was also much impressed with the stories of 
pioneer experiences with Indians. He first modeled in clay his pet 
rabbit, and when fourteen years of age his "Indian scout," and ''Pony 
express" Avon for him the title, "Boy wonder in sculpture." 

Crowds gathered around him in the Zoological Park, New York City, 
as he placed his modeling stand against the cages to study and model 
the animals. Before he was fifteen he won two scholarships at the Art 
Students' League; the first for his ''Fighting pumas," and the second 
for his "Study of fighting panthers." The committee agreed that his 
drawing was crude and his composition defective, but the action repro- 
duced in animals was so lifelike that the prizes were bestowed upon 
him. At sixteen his ability as a sculptor was recognized by expert 
critics ; and at nineteen he was the sensation of artistic Paris as he 
studied and worked at the art schools there. 

Of his "Pony express" an enthusiastic critic writes: "So lifelike was 
the figure that one could readily hear in imagination the clatter of the 
pony's hoof as he leaped in swift bounds along the rocky trail that skirt- 
ed the base of the mountains." (Technical world 22:204.) 

Farny, Henry^ (P.) a native of Alsace, was born in Kibeauville in 
1847. His family came to this country in 1853, and later took up their 
home in Cincinnati where his father died in 1865. 

His first elforts in art were decorations on Avater coolers. Afterwards 
became designed for lithographs, one of his widely knoAvn productions of 
that period being a caricature of the escape of Jefferson Davis. 

In 1867 he went to New York and entered the employ of Harper and 
Brothers; later worked his passage to Europe in a sailing A^essel. In 
Rome he met Regnault, who engaged him to make the sketches which 
appeared in Francis Wey's elaborate work on Rome. 



90 

Being a Frenchman by birth, Farny was admitted to fellowship of 
the French artists in Rome. Went to Diisseldorf, where he became the 
pupil of Munkaczy. Returning to America in 1870, and being unsuccess- 
ful in disposing of his paintings executed abroad, he was compelled to 
gain support by making designs for the large showbills used by circus 
companies. Later gained considerable reputation as a cartoonist. 

In 1878 in company with Duveneck, Dengler and Twachtman he again 
went to Munich and there gained honorable mention in the competition 
for composition. 

For many years he has been chiefly engaged in Cincinnati in design- 
ing illustrations for school books and magazines. 

Farny has been most successful in his delineation of Indian life and 
character; in this field he has done pioneer work. A popular specimen 
is "Song of the talking wire.'^ 

"The silent guest" is perhaps the best of his works in oil. 

Farreir^ Henry^ (E.) b. London, England, March 23, 1843; d. Brook- 
lyn, N. Y., February 24, 1903. He came to America when he was nine- 
teen years of age. His first serious attempts at etching were made about 
1868. Necessity compelled him for a time to abandon etching for more 
lucrative pursuits, but at the formation of the New York Etching Club 
in 1877, he again took up the work. 

In 1879 he became secretary of the American Water Color Society 
and in 1881 president of the New York Etching Club. Was elected in 
1882 a fellow of the Royal Society of Painter-Etchers, London, and in 
1885 honorary member of the Philadelphia Society of Painter-Etchers. 

Among the best known of Mr. Farrer's earlier works was a series of 
eleven plates illustrative of "Old New York." These plates have been 
withdrawn from publication. 

His most important and interesting plates are: 

"Old oak tree, twilight" "On the marshes" 

"Chickens" "Twilight" 

"The washerwoman" "October" 

"A cloudy day" "Sunset" 

"A November day" "Winter" 

"Twilight on the creek" "Staten Island shore" 

"December" "On New York Bay" 

"Sunset, Coast of Maine" "Sandy Hook light" 

"Winter in the woods" "A shady spot on a sunny road" 

"Old house by the roadside" "Sunset on East River" 
"On the beach at Bay Ridge" 
(American Art Review, 1880.) 



91 

Fenn^ Harry^ (P., I., E.) b. Kichmond, England, September 14, 1845; 
d. Montclair, N. Y., April 21, 1911. At the age of nineteen he came to 
America, ostensibly to see Niagara Falls. He remained in this country 
for six years and then went to Italy to study. Shortly after his return 
to the United States he illustrated his first book, Whittier's "Snow- 
bound," which was soon followed by the "Ballads of New England." 
These were the first illustrated gift books produced in this country and 
marked an era in the history of bookmaking. In 1870 he made an ex- 
tended tour of the United States to gather material for "Picturesque 
America." 

He was one of the founders of the American Water Color Society, a 
member of the New York Water Color Club, the Society of Illustrators 
and the Salmagundi Club. (American Art Annual, Vol 9.) 

Fisher^ Harrison^ (I.) b. Brooklyn, N. Y., July 27, 1875. He mani- 
fested artistic inclinations at the age of six and was early instructed in 
drawing and painting by his father who was an artist. His family re- 
moved to San Francisco and he studied at the Mark Hopkins Institute of 
Art. At sixteen he did drawing for a San Francisco newspaper. Two 
sketches accepted by the editor of "Puck" secured him a staff position. 
Later he did serial work for the "Saturday Evening Post," and went 
abroad for material to furnish the pictorial part of some articles for 
McClure's magazine. He has illustrated for "Life," "Ladies' Home Jour- 
nal," Scribner's, etc. 

The creator of the "Fisher girl" it has been estimated has turned out 
of hand more than a thousand studies of the American girl. 

"In a personal w^ay he reflects a boyish sincerity with a philosophic re- 
gard to essentials." Bookman, 11:140.) 

Fisher^ (William) Mark^ (P.) b. in Boston of English and Irish par- 
ents; educated in the public schools; studied art at Lowell Institute, 
later was a pupil of George Inness at Medfield. At twenty went to 
Paris and studied in Gleyre's atelier; settled in Boston, but had small 
success ; went to England to live where he now is well known as land- 
scape and animal painter, exhibiting at the Koyal Academy and else- 
where. He is very highly regarded in England and his works are in the 
finest public and private collections. 

Best known paintings are: 

"The meadows" "A Scotch hillside" 

"On the Cam" "Early summer" 

"Noon" "Evening" 
"A canal jump on the Oise" 

George Moore in "Modern painting" says: "Mark Fisher's painting is 



92 

optimistic. His skies are blue, his sunlight dozes in the orchard, his 
chestnut trees are in bloom. The melodrama of nature never appears in 
his pictures; his lanes and fields reflect a gentle mind that has found 
happiness in observing the changes of the seasons." 

In January, 1911, Mr. Fiisher was elected associate member of the 
Koyal Academy, London. 

Flagg, James Montgomery^ (I.) b. Pelham Manor, Westchester Co., 
N. Y., June 18, 1877. Educated in New York public schools. Dr. Chapin's 
private school ; studied at Art Students League, New York, four years 
in Herkomer's Art School, Bushey, England, and also under Victor 
iMaree in Paris. Became illustrator for St. Nicholas magazine, 1890; 
has been draAving for "Judge" and "Life" since 1892; illustrator for the 
various magazines. Painted portraits in Paris, 1900 ; also in St. Louis 
and New York. Exhibited portraits in the Paris salon of 1900; also 
portraits in oil and water color in National Academy of Design and 
New York Water Color Club. Life member of the Lotus Club. 

FooT'E^ Will Howe^ (P.) b. Grand Rapids, Michigan, June 29, 1874. 
Pupil of the Art Institute, Chicago, Art Students' League of New York, 
Julien Academy under Laurens and Benjamin-Constant in Paris. Re- 
ceived honorable mention at the Pan-American Exposition, Buffalo, 1901, 
third Hallgarten prize National Academy of Design, 1902, bronze medal 
at St. Louis Exposition, 1904. Member Paris American Art Association. 
Instructor at Art Students' League of New York. 

Forbes, Edwin, (P., E.) b. New York, 1839; d. Brooklyn, N. Y., March 
6, 1895. Began the study of Art in 1857 and two years later became 
pupil of A. F. Tait. At first devoted himself to animal painting; after- 
wards gave more attention to genre and landscape. During the civil 
war he was a special artist of Frank Leslie's Illustrated newspaper, and 
his studies of battle scenes were done in etchings, he being the first 
etcher in America. These etchings called "Life studies of the great army" 
have a value as a record of military life during the civil war. General 
Sherman bought the first proofs of these sketches for the U. S. govern- 
ment, and they are now in the war department, Washington. 

The most noted are : 

"The reliable contraband" "Coming through the lines" 

"The sanctuary" "A night march" 

"Returning from picket duty" "The reveille" 

In New York in 1865 he produced "Lull in the fight." This picture 
contains thirty figures and represents a scene in the battle of the wilder- 
ness. 



93 

In 1878 he established a studio in Brooklyn, N. Y., and devoted him- 
self mainly to landscape and cattle pieces. 
Honorary member London Etching Club. 

Foster^ Bein^ (P.) b. North Anson, Maine, July 31, 1852. When eight- 
een years of age he went to New York where he was employed in mercan- 
tile business until he was about thirty when he decided to devote him- 
self to art. 

Studied with Abbott Thayer and at the Art Students' League of New 
York. Went to Paris in 1886 and continued his studies under Olivier 
Merson and Aime Morot; exhibited in the Paris salon; returned to New 
York in 1887; regularlj^ represented at the exhibitions. Associate mem- 
ber National Academy of Design, 1901 ; full member, 1904. 

Mr. Foster has given much attention to the painting of landscapes 
and sheep; his favorite subjects are night effects and woodland scenes. 
His compositions are marked by a large feeling of unity. "He treats a 
morsel of landscape, but as a part of the big mysterious scheme of 
things." (The artist 29 :xx.) 

Among his most important works in oil are : 

"A dreary road" "Fontainbleau forest" 

"A Maine hillside" "First days in spring" 

"All in a misty moonshine" "A windy night" 

"The evening star" "Now the day is over" 

"A wet day in the pines" "Sunset in the Litchfield Hills'' 

"In the Green Mountains" 

Also in water colors: 

"The day is done" "The shepherd" 

"The laggard" 

His painting "Lulled by the murmuring stream," exhibited at the Paris 
Exposition 1900, was purchased by the French government for the Lux- 
embourg Gallery. 

In autumn of 1900 he was awarded the silver medal and the |1,000 at 
the Carnegie Institute, Pittsburgh, for "Misty moonlight," and in the 
spring 1901, at the exhibition of the Society of American Artists, he was 
awarded the Webb prize for the most meritorious landscape painted by 
an American. 

FouRNiER. Alexis Jean, (P., I.) b. St. Paul, Minn., July 4, 1865. At 
the age of fifteen, ambitious to accomplish something with brush and 
color, he found employment in a Minneapolis sign shop ; soon after this 
he engaged to assist in scene-painting. In the fall of 1893 he went to 



94 

France and entered the Academie Julien, Paris ; studied also under Jean 
Paul Laurens, Benjamin-Constant, Gustav Courtois and Henri Harpig- 
nies. 

One of his earliest paintings, ''A spring morning near Minnehaha 
Creek'' was exhibited in the salon of 1894. Of his last painting exhibited 
in the salon and which was hung next to a Gerome, the Figaro comment- 
ing on its merits, said that it was one of the best paintings in the room. 

In the summer of 1907, Mr. Fournier went to the village of Barbizon, 
France, to paint the studios and homes of the great French painters 
known as the ''Men of 1830." These canvases, which are full of the at- 
mosphere and spirit of the place, are : 

"Studio of Millet" "River Oise— Daubigny's house- 

"Home of Diaz" boat" 

"Dupre's studio" "Corot's home" 
"Rousseau's cottage" 

Other characteristic works are: 

"Moonlight on the lagoons" "Peaceful night, Normandy" 

"Old orchard, Normandy" "Sunset after rain" (particularly 

"When golden evening fades" noteworthy) 
"The shepherd's return" 

His "Crepuscule" exhibited in the Paris salon is called perfect in 
tone. 

"He is not a painter of ideal scenery but a painter of nature, interpret- 
ing her moods with a true poetic feeling. He believes the mission of a 
painter of out-of-doors is to show Nature in her fine moods — her har- 
mony and music, as it were." (Brush & P. 4:243.) 

FowLEOR, Frank, (P,. I.) b. Brooklyn, N. Y., July 12, 1852; d. New 
Canaan, Conn., August 18, 1910. Pupil of Edwin White in America, and 
Carolus-Duran and Ecole des Beaux Arts in Paris. Received bronze 
medal, Paris Exposition, 1889; bronze medal, Pan-American Exposition 
1901. Elected a member of the National Academy of Design, New York, 
in 1900; member of the Society of American Artists, 1882. Specialty, 
portraits ; among his noteworthy portraits are those of Governor Tilden, 
Governor Flowers, William Dean Ho wells and Madame Modjeska. Mr. 
Fowler is also a teacher and the author of several works on art, among 
them being "Portrait and figure painting." 

Fraser, Jambis Earlei, (S.) b. Winona, Minn., November 4, 1876. When 
eighteen years of age he entered the Art Institute at Chicago and six 
months later went to Paris to enter the Ecole des Beaux Arts. "His 



95 

work in the salon exhibit of 1897-98 not only won the prize offered to 
American artists but so impressed Saint-Gaudens who was a member 
of the committee of awards that he wrote to the young sculptor. The 
result was that Fraser went to Saint-Gaudens, returned to the United 
States with him in 1900 and worked with him until 1902 when he estab- 
lished himself in New York. At present he has the distinction of being 
the oldest resident in the artists colony in Macdougal Alley, and he is 
an instructor at the Art Students' League. Mr. Eraser is, perhaps, the 
first among the successful pupils of the late Augustus Saint-Gaudens. 

Helen Christine Bennett writes (Arts & D. 1:375: "The relief of the 

Whitney children upon their horses is particularly attractive 

The bust of Cornelius V. Whitney is that of a very handsome boy to 
whom the sculptor has done justice. The head of June EVans, especially 
in profile, shows great delicacy in handling and a certain subdued 
piquancy of expression which indicates a depth of treatment not shown 
in the other two." 

A relief of Horatio Hathaway Brewster was the first relief portrait 
done by Mr. Eraser which caught the popular fancy. A bust of Col. 
Roosevelt shows not only skilful but powerful treatment. An impres- 
sion of Mary Garden as "Melisande" reveals a poetic side of the work of 
the sculptor. 

French^ Daniel Cheister^ (S.) b. Exeter, N. H., April 20', 1850. Was 
educated in his native town and at Cambridge, Amherst and Boston, 
Mass. At the age of eighteen he began to model and his efforts met with 
encouragement from Louisa M. Alcott who suggested that he seek syste- 
matic instruction. His first subjects were animals, portrait reliefs and 
busts of friends. He attended Dr. Rimmer's lectures on artistic anatomy 
and studied the antique sculptures in the Boston Athenaeum. Is hon- 
orary president of the National Sculpture Society. 

Mr. French received his commission for the "Concord Minute-man" 
when he was twenty-three years of age. This was finished in 1874 and 
he then went abroad for the first time. He studied two years in Flor- 
ence with the American sculptor Thomas Ball. In 1886 he again went 
abroad, this time to Paris where he drew from the models in the class of 
M. Leon Glaiae. Since his return to the United States in 1887 he has 
permanently resided in New York. Received honorable A. M., Dart- 
mouth, 1898. Associate member National Academy of Design, 1900; 
full member, 1901. 

Busts of Ralph Waldo Emerson and Bronson Alcott, a frieze represent- 
ing Greeks, carrying offerings and several portraits in the round, low 
and high reliefs are his early works. 

In collaboration with Mr. Edward Clark Potter, Mr. French has pro- 



96 

duced three equestrian statues of high value. ''Washington" presented 
to France by the Daughters of the Revolution, placed in the Place 
d'Lena, Paris, "General Grant" in Fairmount Park, Philadelphia, and 
''General Joseph Hooker" in Boston. 

Mr. French's monumental architectural reliefs are distinguished speci- 
mens of this new i)hase of art. "Death and the sculptor" — the Milmore 
memorial — ^won him a medal in the Paris salon of 1891. The John Boyle 
O'Reilly memorial, Boston, is a work of rare strength and beauty. In 
the "Alice Freeman Palmer memorial," Wellesley College, executed in 
Carrara marble, the technical details have been rarely wrought. The 
"Gallaudet group" at Washington, D. C, is one of his most pleasing 
portrait monuments. His imposing "Alma mater" now adorns the ap- 
proach of the Library of Columbia University, New York, and he fur- 
nished two monumental groups for the Cleveland, Ohio, federal building. 

Other important creations are : A. R. Meyer monument, Kansas City, 
Francis Parkman monument, Boston ; Melvin memorial monument. Con- 
cord, Mass. ; Hunt memorial, New York ; Marshall Field memorial, Chi- 
cago ; statues of General Cass, John Harvard and Rufus Choate and Gov- 
ernor Oglethorpe of Georgia ; bust of Phillips Brooks, the well-remem- 
bered "Statue of the Republic" at the Columbian Exposition, 1893, and 
the bronze doors of the Boston Public Library. Mr. French was the unani- 
mous choice of the Lincoln memorial committee to design the bronze 
statue of Abraham Lincoln to be placed in the Lincoln Memorial build- 
ing in Washington, D. C. Low relief work is one of the final tests of 
a sculptor's skill, and here Mr. French has shown his skill to be quite 
equal to his refined taste. 

Since the death of Augustus Saint-Gaudens, Daniel Chester French 
stands at the head of modern American sculpture. 

Frieiseike, Freideiric Carl, (P., Mural P.) b. Owosso, Mich., April 7, 
1874. Studied at Chicago Art Institute and in Paris under Benjamin- 
Constant, Laurens and Whistler. Exhibits in Europe and America. In 
1904 one of his pictures, "Before the glass"— was purchased by the 
French government for the Luxembourg Gallery. He is also represented 
in the Modern Gallery in Vienna; is the possessor of a gold medal from 
Munich and won a prize from the Corcoran Gallery of Art, Washington, 
D. C. In 1908 he was elected societaire of the Societe Nationale des 
Beaux Arts, Paris, since which time his works are accepted by the salon 
without the inspection of a jury. In 1912 he was elected an associate 
member of the National Academy of New York City. 

Among Mr. Frieseke's figure subjects his decorative canvas "Youth" 
illustrates the firmness of his modeling, and "The Chinese parasol" and 
"The girl with bird cage" are also typical examples of his work. 



97 



Oither popular paintings are : 

'^The green sash" 
"Misty morn" 
"Lady on a gold coucli" 
"Breakfast in the garden" 
"The yellow room" 



"Repose at noonday"' 
"Among the hollyhocks" 
"Autumn" 
"The toilet" 



"One strong feature, more pleasing in the work of Frieseke than in 
that of many other members of the American colony in Paris, is his 
sense of design and balance." (Int. studio 43:273.) 

Brilliant sunshine has been his particular study for several years. He 
delights in rendering effects of sunlight upon green foliage. 

Clara MacChesney in writing of the work of this artist, says : "The 
charm of Frieseke is in the light and color of his canvas. His color is 
purer and higher in key but lacks the mystery of Aman-Jean's. His 
pictures are more crowded as to composition, but decorative in design 
like Blanche's. Brilliant garden scenes, palpitating with light and color, 
landscapes, interiors representing intimate scenes of the toilet or pic- 
tures of nude women, and mural decorations form his chief line of 

work He knows nothing about flowers and cares less, nor does 

he make a careful stud}- of them nor of different kinds of gardens, but his 
one idea is to portray the dazzle of light and of color of flowers seen in 
sunlight." 

Among Mr. Frieseke's later works are, 

"Afternoon tea," recently shown at the Anglo-American exhibition 
in London; "At the seashore," (painted in the brilliant sunshine of 
Corsica), one of the fascinating exhibits in the Salon of 1913; "Summer," 
a marvel of execution (a reclining figure in a blaze of sunlight) ; "A 
girl sewing," an interior subject. 

As a mural decorator he is best known for his large decorations at 
John Wanamaker's store in New York. Of his decorations in Hotel 
Shelbourne, Atlantic City, also of his mural painting in the Rodman 
Wanamaker Hotel and the Amphitheater of Music, New York, a corre- 
spondent and art critic says : "Frieseke's decorations are subdued and 
harmonious." 

Mr. Frieseke lives in France and has a charming home at Giverney, 
that haven of artists. 



Fromuth^ Charles Henry, (P.) b. Philadelphia, Pa., February 23, 
1861. Pupil of the Pennsylvania Academy of the Fine Arts under 
Thomas Eakins. Received second class gold medal at the International 
Exposition of the Fine Arts, Munich, 1897; silver medal, Paris Exposi- 
tion, 1900; gold medal St. Louis Exposition, 1904. Associate Societe 
Nationale des Beaux- Arts, Paris, Member London Pastel Society, So- 
13 



98 

ciete des Peintures de Marine, Paris; Berlin Secession Society of Paint- 
ers. Specialty, marines. 

The English Illustrated Magazine for xlpril, 1912, refers to Mr. Fro- 
muth as "an artist of undisputed distinction, recently acknowledged to 
be the leading pastel painter in the world " 

"The works of this master of pastel are nearly all scenes in harbor 
and groups of sardine boats painted under varying conditions of light." 

"Mr. Fromuth's pictures reveal his extraordinary knowledge of wave 
movement and cloud form, his sensitiveness to light and shade and his 

complete mastery of color and effect When a painter names 

his pictures "Fluid water at evening," "The mirror of the storm," "Har- 
bor waters caressed by overhead clouds," "In the jungle of the sardine 
fleet," etc., w^e feel that the subjects are chosen for their spiritual mean- 
ing as well as their pictorial message." 

Frost, Arthur Burdett^ (I.) b. Philadelphia, Pa., January 17, 1851. 
He began his career in a wood-engraver's establishment and later took 
up lithography at the same time devoting his evenings to the study of 
drawing. In 1872 he furnished a number of illustrations for "Out of 
the hurly-burly" by Charles Heber Clarke, w^liich Avas very successful and 
since then he has illustrated works by various authors. Frank B. Stock- 
ton (whose works he illustrated) said of him. "Bj- nature Mr. Frost is 
essentially a humorist." 

In 1877 he went to England to study and work, but preferring Ameri- 
can life and atmosphere, returned in 1878. 

As a chronicler of phases of American life he has been called the Mark 
Twain of the illustrators. 

"His compositions are apparently done so easily, he realizies his scenes 
as perfectly himself and is so convincing in his placing of the accent that 
one has no hesitation in saying that it is that of a cheerful, healthy opti- 
mism bred in sunny American country life." 

"In his execution, he relies mainly upon sketches of white paper and 
an equal distribution of parallel-tint and cross-hatch shading." 

"How Avonderful it is that week in and week out, drawing a hundred 
landscapes to Kuysdael's one, a hundred tramps to Callot's and Ostade's 
one, he is able to suggest so vividly the effect of sunlight upon distant 
meadow, and the homely poses of what, were America the old world, 
would be called the peasant class." (Knaufft.) 

No one else drawing animals realistically can make them so truly 
funny. (Ind. 59:1397.) 

Fuller.^ George^ (P.) b. Deerfield, Mass., January 16, 1822; d. Boston, 
Mass., March 21, 1884. Studied in New York, Boston, London and on 
the continent of Europe. He was made associate of the National Acad- 



99 

emy of Design, Xew York, in 1853, but liis painting was unremunerative 
and on the death of his father he took up farming*. After fifteen years 
of farm life, he went to Boston and found purchasers for his paintings, 
meeting with success as a professional artist. 

"The berry pickers" placed him among the first painters of the world 
and to his "Eomany girl" he owes his greatest renown. Among his best 
works are : "Winifred Dj^ sart," "Turkey pasture" and "She was a witch." 

A memorial exhibition of his works at the Museum of Fine Arts, Bos- 
ton, 1884, comprised 175 paintings, of which the following are best 
known : 

"Cupid" 'Turitan boy" 

"Romany girl" "Fagot gathering" 

"The quadroon" "Arethusa" 

"Nydia" "Negro nurse with child" 

"Turkey pasture" "Shearing the donkey'. 

"Pasture with geese" "Maidenhood" 

"Fedalma" "Driving home the calf" 

"Evening— Lorette" "Priscilla" 

"At the bars" "Twilight on prairie" 

"Hannah" "Girl and calf" 

"Psyche" and portrait of Henry B. Fuller. 

"Berry pickers" 

"He was preeminently an idealist, possessed of a genius for dreamy 
light effects, somewhat akin to Corot's." (Nat. Cyc. Am. Biog.) 

"The soul of his art was selection . . He believed the province of art 
is to call attention to the beauties of nature, not to insist upon the de- 
fects, the deformities and the vulgarities of man or nature 

He never painted a brutal head. If he saw brutality he did not like it 
and w^ould not represent it." (F. D. Millet, Harper's 69:517.) 

Fuller^ Lucia Fairchild^ (Mrs. Henry B. Fuller), (Min. P.) b. Bos- 
ton, Mass., December 6, 1872. Received bronze medal at the Paris Ex- 
position, 1900; silver medal at Pan-American Exposition, Buffalo, 1901. 
Is member of the Society of American Artists. Was elected associate 
member of the National Academy of Design, New York, 1906. 

Mrs. Fuller stands side by side with Miss Laura Coombs Hills in meth- 
od and in nature of results. "With her women and with her children 
she swings into play all the tenderness of drawing and all the fascina- 
tion of transparent flesh tones." (Critic 47:524.) 

"Her portraits relate to the olden times when the art flourished under 
the masters who created it and her technique is above reproach." 

Her "Mother and child" from a background of blue brocade, beautified 



100 

by age into faded purple .... recalls the feeling that touches the heart 
in Delia Robbia's babies. (Cent. 60:820.) 

"Mrs. Fuller's achievements are achievements" and her ''Portrait of a 
boy" is splendidly painted, "soft and rich in color and of a simplicity 
equal to the drawings by Boutet de Monvel, withal of greater depth." 
(Gardner C. Teall, Brush & P. 6 :26.) 

Successful imaginative figure compositions are: 

"In the days of King Arthur" 
"The Chinese jacket" 

Her "Artemidora" at the 12tli annual exhibition of the American So- 
ciety of Mural Painters, shows a full appreciation of the beauty and 
purity of the material on which the miniaturist works. Alice T. Searle 
says : "In this nude, study of a woman's figure of classic beauty in an 
unusual pose, the delicacy and sensitiveness of line in the drawing was 
suggestive of an etching with a slight staining of color over the whole." 

Mrs. Fuller charms and delights the lover of miniature. 

Garbee. Daniel, (P.) Pupil of Cincinnati Art Academy under V. 
Nowottny, and Pennsylvania Academy of the Fine Arts under Anschutz. 
Won the Cresson scholarship Pennsylvania Academy of the Fine Arts, 
1905, first Hallgarten prize National Academy of Design, 1909 ; also the 
Potter Palmer gold medal carrying with it the sum of |1,000, at a recent 
exhibition. 

Of his "Towering trees," a writer for Art and Progress (3:454) says: 
"It is an unusual composition, decorative in effect, showing a screen of 
lofty blue-green pepper trees on the marshy shore of a stream, beyond 
which one catches a glimpse of a distant landscape and bits of enchant- 
ing sky," 

Gaul^ William Gilbert^ (P., I.) b. Jersey City, N. J., March 31, 1855. 
Educated in the local schools of Newark and at Claverack Military Acad- 
emy. Began the study of art in New York City with J. G. Brown, and 
is one of our best known illustrators. 

In 1872 his first picture was exhibited at the Academy of Design. 

"While Mr. Gaul has treated other subjects with sympathy and charm, 
it is in a painter of battles and soldier life that he is most widely known. 

Many of his paintings represent the picturesque features of 

army life on the plains of the far west." 

He has illustrated a number of books and his work in black and white 
has appeared in all the leading magazines. 

"Holding the line at all hazards" won a gold medal from the Ameri- 
can Art Association in 1881, and "Charging the battery" elected him a 



101 

member of the National Academy of Design in 1889. At the World's 
Columbian Expo>sition, 1893, his illustrations won a medal. (Nat'l. Cye. 
Am. Biog.) 

"Mr. Gaul's work, often spirited, is always forcible and interesting." 
C^lmerican art and artists," p. 359.) 

Gay^ Walter^ (P.) b. Hingham, Mass., January 22, 1856. His youth- 
ful efforts in painting Avere flower pieces. At the age of nineteen he went 
to Paris and entered the atelier of Leon Bonnat who chose one of his life 
studies to be placed on the wall, where it hung for many years, being the 
only one thus honored. In 1879 he visited Spain and that same year ex- 
hibited in the salon of the Champs Eh^sees his picture entitled ''The fenc- 
ing lesson." It Avas placed on the line. He is a regular contributor to 
the Paris salon. 

Received honorable mention Paris salon, 1885 ; third class medal salon 
of 1888 ; gold medal, Vienna, 1893 ; gold medals Antwerp and Munich, 
1894; gold medal Berlin, 1896; silver medal, Paris Exposition, 1900; 
cheA^alier of the Legion of Honor, 1894; cross, 1906. Associate member 
Societe Xationale des Beaux Arts ; member Societe des Amis du Louvre, 
Paris. His Avorks are hors concours at the Paris salons. 

Mr. Gay paints chiefly the peasants of Western France. 

''Saying Grace" Avas awarded a gold medal of the third-class, and this 
painting and the "Cigarette makers," were purchased by the French gov- 
ernment for the Luxembourg. 

Other popular paintings are: 

"Young girl with a geranium" "The sewing lesson" 

"Plain chant" "A master stroke" 

"Mass in Brittany" "Knife grinder^' 

"The spinners" "Trained pigeons" 

"A weaver" "Conspiracy under Louis XVI'^ 

Mr. Gay is represented in the Tate collection, London, Metropolitan 
Museum of Art, New York, Museum of Fine Arts, Boston, and in many 
priA^ate collections. 

"Through large windows hung with thin curtains, the bright daylight 
falls into the clean rooms of peasants, gleaming on the boards of the 
floor, the tops of the tables and the white caps of the women who sit at 
their work sewing." It is a familiar problem of light. (Miither.) 

Gexth. Lillian Matilde, (P.) b. 1876. Graduate of the School of De- 
sign, Philadelphia, Pa., in 1900, (fellowship to Paris) ; studied under 
Whistler and at Atelier Colarossi. Won Mary Smith prize, Pennsylva- 
nia Academy of the Fine Arts, 1904; Shaw prize. National Academy, 



102 

1907; gold medal American Art Society, Philadelphia, 1907; won Hall- 
garten prizie on "Depth of the woods." Associate member of National 
Academy of Design, 1908. 

"Birdsong" has been purchased by the Carnegie Institute for the per- 
manent exhibit. "The lark" capably executed and of excellent color, 
w^on the ShaAv memorial prize. "Golden days" is one of her most charac- 
teristic paintings. "Spirit of the earth" and "Sun maiden" are also well 
known, and "The promenade" is attractive. "A June afternoon" — one of 
her latest — is an analytical refinement of sunshine. 

"Mother and child" is singTilarly tender and beautiful and painted 
fearlessly. It is wonderful to think that at last we may enjoy in art 
as well as in life the impression of kind, generous, beautiful mother- 
hood without the Puritan streak of horror at facing the real beauty of 
the thought." (Craftsman 24:315) 

Miss Genth makes a specialty of nude female figures, symbolical 
nymphs in sunshine and shadow. 

Gibson^ Charles Dana, (I., P.) b. Koxbury, Mass., September 14, 
1867. Began his studies at the Art Students' League of New York at the 
age of seventeen and continued in that institution during 1883 and 1884. 
In 1886 he made his debut as an artist for the periodicals, his first draw- 
ing accepted being "The moon and I" which appeared in "Life." Three 
years later he gave up work and went to Paris where in 1889 he was 
enrolled as a student in the Academie Julien. After this period of study 
he resumed work as an illustrator; has a studio in New York. 

In 1893 he went to Paris, in 1895 to London and in 1898 to Munich 
acquiring material for pictures subsequently published. 

"Mr. Gibson is doubtless to be regarded as one of the foremost of mod- 
em illustrators. His technique is admirable. He works in three media 
— pen, chalk and brush. His versatility, however, is that of ideas and 
not of types. Few artists have acquired equal reputation with as few 
distinct characters. His American girls are one American girl — his 
favorite, and for a certain class of pictures almost his sole female model." 
(Brush & P. 7:277.) 

The drawings of Gibson have beeen characterized as genteel pictorial 
comedy, and probably no happier nor truer phrase could be devised to 
describe them. 

GiES, Joseph W., (P.) b. Detroit, Michigan. Pupil of Bouguereau and 
Kobert-Fleury in Paris; Koyal Academy in Munich. Member Society 
Western Artists. "Lady in pink" and portrait of Robert Hopkin are 
in the Detroit Museum of Art. 

GiFFORD, Robert Swain, (P., E.) b. Naushon Island, Mass., Decern- 



103 

ber 23, 1840; d. New York, January 15, 1905. Educated in the public 
schools of New Bedford, Mass. ; studied painting under Albert YanBeest, 
Rotterdam, Holland ; settled in New York in 1866 ; made sketching tours 
through California and Oregon in 1869, in Europe and North Africa in 
1870-71, and again in 1874-75 in Brittany and other parts of France. Was 
elected associate member of the National Academy of Design, New Y^ork 
in 1867; full member in 1878. Member of the Society of Painter-Etchers^ 
London. 

Mr. Gilford's range of landscape is unusually wide; he has painted 
the heights of the Sierras, the plains of Brittany and coast of New Eng- 
land, as well as Eastern scenes. He is best known through his Eastern 
pictures in which his rendering of Oriental life and atmosphere is pe- 
culiarly happy. 

In 1867 he sent three marine paintings to the National Academy ex- 
hibition, — ''Scene at Long Beach," "Cliff scene, Grand Menau," "Vine- 
yard Sound light ship," — and on their merits was elected associate mem- 
ber of the institute. 



Oriental paintings: 

"An Egyptian caravan" 
"Fountain near Cairo" 
"On the Nile" 
"View of the Golden Horn" 
"Evening on the Nile" 
"Rock of Gibraltar" 



"Halt in the desert" 

"Entrance to a Moorish house in 

Tangiers" 
"The palms of Biskra" 
"Scene in the Great Square of the 

Rumeyleh, Cairo, Egypt" 



His autumn landscapes or sketches of shore are rich in harmonies of 
tone. Of his "Woodland pastures," Mr. Gifford writes : "The subject is 
from nature, sketched near my place at Nonquit .... I have painted 
manj^ of my best pictures in this locality." 

"The glen" is an excellent example of his style. His "Near the coast" 
won the |2,500 prize of the American Art Association in 1885. 

"We have stood spell-bound before his drifting October clouds, and 

the wide expanses of his cold and cheerless skies We have 

wondered how a man could bring before us such a dreary scene and yet 
force us to bow before it." (New Eng. M. 14:148.) 

Mr. Gifford was one of the best of American etchers and his plates have 
been praised by the most competent critics. Of his "Evening" S. R. 
Koehler, in his work on "Etching," says: "In my humble opinion, it is 
about the completest bit of American landscape etching yet accomplished 
without loss of freedom or breadth." 



Glackens, William J., (P., I.) b. Philadelphia, Pa., March 13, 1870. 
Received early training in Pennsylvania Academy and studied scenes and 



104 

types several years in Etirope ; exhibited at the Paris salon, 1896 ; Paris 
Exposition, 1900. McClure's sent him to Cuba during war with Spain. 
Has received medals and honorable mention at the exhibitions of various 
art societies in this country; elected associate member of the National 
Academy of Design, 1906. 

A revolutionist in art, he is from an American standpoint the first 
of illustrators. The art editor of Scribner's has made his work a feature 
of that magazine's pages. 

''Mr. Glackens seeks for the expression of an idea, for the depiction 
of life in all its teeming naturalness, and the treatment of his subject is 
not considered." ''His types are often the growth of an idea. Most of 
them he finds from street observations, using a model only for the actual 
drawing." 

He considers high lights vulgar, and uses mostly the flat tints. 

"His work is distinct and decidedly radical in its purport and incep- 
tion. He may not please the general public, but has won the unstinted 
appreciation of his confreres in art, and of those who value originality 
and forceful thought." (Bkmn. 11:244.) 

"Glacken's paintings are invariably interesting for the artist is pos- 
sessed of an exceedingly fresh and engaging point of view. And yet with 
all its originality the art of Glackens is closely linked with that of Degas 
and Manet 

"Glackens possesses much knowledge of the technique of painting in 
oils — that most difficult of all media; his composition and his palette 
are very amusing. His drawings fairly reek w^ith character and his 
wonderfully expressive line records types in such a truthful and far- 
seeing manner, his penetrating gaze sees so far beneath the surface of 
things, that one can only marvel at the simple manner in which he at- 
tains his ends." (Int. studio 40:sup. Ixviii.) 

Grafly, Charles, (S.) b. Philadelphia, Pa., December 3, 1862. At the 
age of seventeen he entered a stone-carving establishment in order to 
gain practical knowledge of the sculptor's craft; he remained there for 
five years. Studied modeling and painting under Thomas Eakins at th(» 
Pennsylvania Academy of the Fine Arts and in 1888 went to Paris and 
entered the Academie Julien and studied in the department of sculp- 
ture under Chapu ; later studied in the Ecole des Beaux Arts. 

Received honorable mention in the Paris salon of 1891 ; honorable men- 
tion Temple Fund, 1892; gold medal of honor, Pennsylvania Academy of 
the Fine Arts, 1899 ; gold medal Paris Exposition 1900 ; gold medal Pan- 
American Exposition, Buffalo, 1901. Elected associate member of the 
National Academy of Design, New York, in 1902, academician, 1905.' Mr. 
Grafly is instructor of sculpture in the Pennsylvania Academy of the 
Fine Arts; also member of leading art clubs in the United States. 



105 

In the salon of 1890 he made his debut with t\Yo heads — "Daedalus'' 
and ''St. John"; the former was subsequently exhibited in Philadelphia, 
purchased and cast in bronze by the academy and is now in the perma- 
nent collection. His life-size female nude figure "Mauvais presage" was 
accorded honorable mention in the salon of 1891 ; is now in the Detroit 
Museum of Art. Since 1896 he has resided in Philadelphia. 

The most original of his diminutive works is ''The symbol of life." In 
the Paris Exposition of 1900 five of his works — ''The vulture of war," 
''The symbol of life," "From generation to generation," "Portrait of my 
mother" and portrait of Mrs. Charles Grafl}' — were exhibited and they 
were awarded a gold medal. 

''The pioneer mother," a statue to motherhood, is a tribute to the 
pioneer women of California, suggested by the Woman's Board of the 
Panama-Pacific Exposition. Mr. Grafly was selected as the sculptor 
after a competition in which ten American sculptors entered designs. 
After the close of the exposition the monument will be placed per- 
manently in the civic center of San Francisco. 

He executed the main fountain "Man" for the Pan-American Exposi- 
tion, Buffalo, 1901. 

Lorado Taft says that there is a leaning towards symbolism in Mr. 
Grafly's work — "He seems to think that this is what sculpture is for — 

the expression of one's ideas in form Mr. Grafly lost himself for a 

time in an Egyptian chimera." 

Grayson, Clifford Provost, (P.) b. Philadelphia, Pa., July 14, 1859. 
Graduated from the University of Pennsylvania in 1878. After studying 
at the Pennsylvania Academy of the Fine Arts, he went to Paris the 
same year and studied in the Ecole des Beaux Arts and in the Atelier 
Gerome. Then he went to Pont Aven and Concarneau where some of his 
most successful pictures were painted. Subsequently he opened a studio 
in Paris, and became a regular contributor to the salon. 

His first painting shown in the salon of 1882 was "A Breton idyl." 
This was followed by "Going to market." In 1883 his "Kainy day at 
Pont Aven" was hung in a most prominent place on the line and received 
favorable comment. "Ahoy," was exhibited in the salon of 1884, and 
"Fisherman's family," 1885. "Midday dreams" won |2,000 prize in 1886 
at an art exhibition in New York. 

Mr. Grayson returned from Europe in 1891 to become director of the 
art department of Drexel Institute. In his work he reminds one of Jules 
Breton. 

Grelitorex, Eliza^ (E.) b. Manor-Hamilton, Ireland; d. Paris, France, 
1897. In 1840 she came to New York with her family, and in 1849 mar- 
ried Henry W. Greatorex, a well-known musician and organist. Being 



100 

early left a widow with three children she made art her profession and 
went to Paris where she studied under Lambinet for a year and later at 
the Pinakothek, Munich. After this period of study she returned to New 
York and in 1869 she was elected an associate member of the National 
Academy of Design, New York — an honor which at that time only one 
other woman, Mrs. Bogardus, shared with her; she was the first woman 
to be elected a member of the Artists Fund Society of New York. 

It is by her pen-and-ink drawings — a series of pictures of old New 
York — that she is perhaps most widely known. 

In 1873 she determined to take up etching and in 1878 settled in 
Paris and made etching her chief study. In the summer of 1880 she 
went to the vallej^ of the Chevreuse (Seine et Oise) and at Chevreuse 
and Cernay-la-Ville etched directly from nature her 'Tond at Cerney-le- 
Ville." Her ''Old Dutch church" is most characteristic and attractive. 
The work of Mrs. Greatorex is delicate rather than strong in its incep- 
tion as well as in its execution. (Koehler's "American etching.") 

She etched her famous plate "The old Bloomingdale tavern" in 1869. 

Grben^ Elizabeth Shippen^ (Mrs. Huger Elliott) (I.) Studied at 
the Pennsylvania Academy of the Fine Arts, also with Howard Pyle; 
guided and encouraged in her childhood by her father, a lover of art, who^ 
with her mother lived also at the "Red Rose." 

Studied six years abroad. Began by illustrating for advertisements; 
then entered the wider field of drawing pictures for children's poemn 
and stories. 

"Her love of the dainty mysteries of elves and fays has free expression." 
Her work appears especially in Harper's. 

Groll^ Albert Lorey^ (P.) b. New York, December 8, 1866. Most of 
his student years were spent in Munich where he studied at the Royal 
Academy. Has been a landscape painter since 1895. A member of the 
National Academy of Design, New York, 1910. 

In his student days he gave much attention to figure painting but 
there came a time when he could not afford models for figure pieces; 
this forced him to find his models in the trees and rivers, hills and fields. 
His earlier pictures are studies of the familiar atmospheric effects of 
dawn, twilight, moonlight, mist, sunrise and starlight as seen at Cape 
Cod, Sandy Hook and in New York City. 

Mr. Groll accompanied Prof. Stuart Culin of the Brooklyn Museum of 
Arts and Sciences on an exploration trip to New Mexico and Arizona 
and the sketches that he made of the Colorado desert furnished material 
for his now noted "desert" pictures. His "Arizona" won the gold medal 
in 1906 at the exhibition of the Pennsylvania Academy of the Fine Arts. 
"It is only a sketch of desert and sky and low-lying hills, but it glows 



107 

like a gem with the indescribable never-to-be-forgotten color of the Colo- 
rado desert." (Craftsman 9:826.) 'The sandstorm" is another remark^ 
able prodnction; ''The rainbow" still more daring. In ''Clouds" he is seen 
at his best. "Lake Louise" was awarded the Inness gold medal. 

He shows the desert in all its moods,^placid and savage, bold and mel- 
low. "Groll is the musical dreamer in colors." (Int. studio 27:lxvi.) 

Grover^ Oliver Dennett^ (Mural P.) b. Earlville, 111., January 29, 
1861. Studied in Royal Academy, Munich; with Frank Duveneck in 
Florence, with Boulanger, Lefebvre and Laurens in Paris. Received the 
first Yerkes prize, Chicago, 1892, for his painting, ''Thy will be done." 

Gruppe^ Charles Paul, (P.) b. Pictou, Canada, September 3, 1860. 
Studied in Holland but is chiefly self-taught. Received gold medal at 
Rouen gold medal of American Art Society in 1902; two gold medals in 
Paris. 

Is a member of the Pulchre Studio, The Hague; Arti, Amsterdam; 
American Water-color Society, New York; Art Club of Philadelphia; 
New York Water-color Club. 

Guerin^ Jules, (P., I., Mural P.) b. St. Louis, Mo., November 18, 1866. 
Going abroad after preliminary studies, he entered the ateliers of Ben- 
jamin-Constant and Jean Paul Laurens in Paris. Received honorable 
mention at Paris Exposition 1900 ; also honorable mention at the Pan- 
American Exposition, Buffalo, 1901, and silver medal at St. Louis Expo- 
sition 1904. 

Mr. Guerin is an architectural draughtsman, a successful decorative 
painter, and a well-known illustrator. In recent publications, he has 
collaborated wath Robert Hichens, the author, using many of his sub- 
jects from Egypt and Palestine. 

Among his interesting paintings are series of French chateaux, Vene- 
tian scenes, and public buildings of historic interest in the United States. 

In estimating the artistic qualities of Mr. Guerin, the International 
Studio says : "He studies a building with the trained and informed in- 
telligence, the assured restraint of an architectural draughtsman of the 

better sort He is careful of design and bold, almost arbitrary in 

color, conventionalizing like a decorator." 

He has painted six enormous topographical landscapes as mural decor- 
ations for the new Pennsylvania R. R. station in New York City. They 
represent chiefly the country traversed by that railway company. 

Gutherz, Carl, (P., Mural P.) b. Schoeftland, Switzerland; d. Wash- 
ington, D. C, February 7, 1907. Came to this country with his parents 
in 1851 and settled in Memphis, Tenn. He became a mechanical draughts- 



108 

man. In 1868 he went to Paris and studied art with Cabason and Pils, 
and later with Stallaert and Robert in Brussels and Antwerp; finally 
settled in Rome in 1871 where he studied with Simonetti. There he exe- 
cuted his first important work ''The awakening of spring/' and on the 
strength of this painting, he was elected in 1872 a member of the Cercle 
Artistique Internationale; after spending some time in Munich he re- 
turned to the United States in 1873 and became associated with Prof. 
Halsey G. Ives. In 1880 Mr. Gutherz married an accomplished and cul- 
tured lady of a distinguished Alabama family and they soon after re- 
moved to Paris where they lived until 1896. While in Paris, Lefebvre, 
Boulanger, Gabriel Ferrier, Jules Breton, Oliver Merson and Puvis de 
Chavannes were among his intimate associates. He exhibited in every 
salon and in 1876 received a medal from France that rendered his works 
hors concours in the salon. His work assumed ''that dignity and pro- 
portion of color symphonies, significant in mystic symbolism." Being 
awarded the commission for decorating the ceiling of the Representa- 
tives' reading room in the Library of Congress, led to his establishing his 
home in Washington where he was for many years connected with the 
art department of the Washington University. 

His mural paintings in the Library of Congress are seven panels rep- 
resenting "The spectrum of light." He also has a series of mural paint- 
ings in the Peoples' Church, St. Paul, Minn., the theme being to repre- 
sent allegorically life in both the physical and spiritual worlds. In the 
Courthouse at Fort Wayne, Ind., he has a series of six splendid decora- 
tive panels. 

In portraiture Mr. Gutherzi painted many distinguished men. Among 
his ideal Avorks are the beautiful "Ad angelis" where two angels are 
bearing the ethereal body to the realm of light, "The golden legend," 
"Ecce homo," "Sappho" and "Midsummer night's dream." 

Lilian Whiting says : "The story of Carl Gutherz is the story of an 
ideal embraced in youth and followed in manhood with increasing fidelity. 
It is the story of a painter whose entire life has been singularly responsive 
to the artist's vision and the poet's dream." (Int. studio 24:lxxxi.) 

Haggin, Ben Ali^ (P.). Won third Hallgarten prize of the National 
Academy of Design, 1909. His technical knowledge was acquired by 
studying the work of the masters. 

"In his portrait of a 'Japanese actress' the fabric of the gown and 
the manipulation of light is almost Whistlerian, without being in the 

least like Whistler xlnother thing that Haggin has in common 

with Whistler is the handling of white. Few contemporary painters get 
the same quality in the lightness of the heavier white fabrics." 

"In his 'Little dancer' the figure stands in the center of a stage, 
against a golden curtain that blends into the shadows of the dress — 



109 

shadows that are golden, transparent and luminous, not dull gray or 
black. His blacks have the same harmonizing quality, for black is pilea 
on black in a most be^A'ildering fashion." 

"He gives to all his portraits a 'dramatic effect'. Terhaps the por- 
trait of Mrs. Wilfred Buckland will be reckoned by a later generation 
of critics as one of the most essentially brilliant canvases which have 
ever emanated from his brush.' " 

''His charming portrait of Miss Kitty Gordon is now famous. Otis 
Skinner as Hajj, the beggar, is considered to be technically the best 
thing he has handled of late. This characterization was done at one 
sitting. (Arts & D. 2 :320.) 

''He is obsessed witih a sense of color It is in the painting 

of the nude, however, that Haggin has found his most complete expres- 
sion .... The flesh is transparent, blue veined and coolly shadowed." 

Hallowei^d^ George H., (Min. P.) b. Boston, Mass., December 5, 1872. 
Pupil of Benson, Tarbell and H. B. Warren in painting. 

At the tenth annual exhibition of the Society of Miniature Painters 
Mr. Hallowell showed an interesting group. 

"His paintings are representations of a more or less conventionalized 
nature, and he pays so much attention to the surface of his picture that 
he produces an effect not unlike the wonderful glaze of the porcelains of 
the Royal potteries at Copenhagen. His design is always beautiful and 
his color of an unimpeachable harmony, though purely arbitrary." 

Harding, Chester, (P.) b. Conway, Mass., September, 1772; d, in 
1866. A remarkable personality. He was noted as an axeman — was im- 
prisoned for debt — worked as a house painter — finally became a famous 
portrait painter. 

For a time was a student of art in the Academy in Philadelphia. 
Finally settled in Boston where he achieved great popularity. Went to 
England in 1823 where he became popular. Returning to the United 
States he painted most of the political leaders of his time — Webster, 
Clay, Calhoun, Marshall and many more. (Bookm. 31:55.) 

Tuckerman in his "Book of the artists," says : "In 1823 Harding was 
the fashion in Boston; even Stuart was neglected and used to ask sar- 
castically "How goes the Harding fever?" 

His portrait of Daniel Webster was much esteemed. His last work 
was a portrait of General Sherman. 

Harding^ George, (I., P.) b. Philadelphia, Pa., 1882. Studied at Penn- 
sylvania Academy of the Fine Arts and w^itli Howard Pyle. Member of 
the Philadelphia Water Color Club and Society of Illustrators. 



110 

Kepresentative pictures : 
''Coast of Cape Race" 
^'The fisherwoman" 
''Busy day at the docks" 
"A wreck on Florida reefs" 

Harper, William A. (P.) Born of colored parents near Cayuga, Can- 
ada, December 27, 1873 ; died in the city of Mexico, March 27, 1910„ 

In 1895 he entered the Art Institute School, Chicago. Later he taught 
drawing in the public schools of Houston, Texas. In 1903 and again 
in 1907 he went to Paris where he was associated with Henry Ol Tanner. 

The subjects of his paintings were mostly French and American land- 
scapes. Of a memorial exhibition of his paintings held in Chicago soon 
after his death, a local art critic writes : 

"The showing of Harper's work was interesting for the variety of 
sketching grounds represented, for the dignity of the point of view, and 
for a consistently high aim in the conception of his pictures." 

HARRISON;, (Lovell) Birge^ (P., I.) b. Philadelphia, Pa., October 28, 
1854. Son of Apollos Wolcott and Margaret (Belden) Harrison. Known 
most widely as a painter of snow. Received an academic education. 
Went to Paris in 1876; entered the atelier of Carolus-Duran ; two years 
later entered the Ecole des Beaux Arts and studied under Cabanel for 
four years. Going to Pont-Aven, Brittany, he painted his first important 
picture, "November" which was exhibited in the salon of 1882 and subse- 
quently purchased by the French government. Associate member Na- 
tional Academy of Design, 1902; full member, 1910. 

His work is marked by a love of evanescent effects, — moonrise over a 
majestic shadowy landscape, winter twilight after snow, the harbor ice 
in moonlight. 

Important works are : 

"The return of the Mayflower" "Moonrise off Santa Barbara" 

"Moonlight on the snow" "Winter sunrise in New England" 

"Morning on the Eel river" "The sentinel" 

"Moonlight on the marshes" "The heights of Levis" 

"The Flatiron after rain" "Woodstock meadows in winter" 

"Sunlight and mist" "Road near Santa Barbara" 

"The lower town, Quebec" "Madison avenue in winter" 

"A writer on his art, a teacher and experimenter, he has played with 
the whole gamut of high and low sunshine on snowy fields." (Innes 
"Schools of painting," p. 375.) 

His paintings are hors concours in the Paris salon. 



Ill 

Haehison^ Thomas Aleixander^ (P.) b. Philadelphia, Pa., January 17, 
1853. Son of Apollos Wolcott and Margaret (Belden) Harrison. In 
1879 he studied at the Ecole des Beaux Arts, also under Bastien-Lepage 
and Gerome, Paris. The same year he joined the colony of artists at 
Pont-Aven, Brittany, and in 1880 he sent his first marine entitled ''The 
Brittany coast" to the Paris salon. His first popular success came in 
1882 when he sent to the salon a charming picture called "Castles in 
Spain." In the salon of 1884 he again obtained great success with a 
marine called Crepuscule" (Twilight). This he followed in the salon 
of 1885 with ''The wave" for which he received honorable mention, and 
in the salon of 1886 he exhibited "Arcadia" which was later purchased by 
the French government for the Luxembourg. These four mentioned pic- 
tures all figured in the Universal Exhibition of 1889 and represent the 
artist's greatest and most successful efforts. 

Other representative paintings are : 

"The Kiver Loing — evening" "Breton garden" 

"Nymph" "The amateurs" 

"Lunar mists" "Marine" 

"Shipwrecked" "Misty morning" 

"Harbor of Concarneau" "Golden sands" 
"Pebbly beach" 

Although demonstrating his ability to paint in many directions it is 
mainly by reason of his great power as a painter of the sea that Mr. 
Harrison's reputation stands, and in this work none approaches him in 
the delineation of light and movement and color of wave forms under sky 
effects .... "Yery notable is the hue of the foam and curdle, not white 
but an attenuated tone of the same blue w^hich pervades the mass of 
water." (Brush & P. 4:133.) 

"Of all American painters of the sea, Alexander Harrison is 

the most scholarly." (Caffin.) 

"The key note to Mr. Harrison's art is truth to nature ; he is a disciple 
of the plein air movement and of the evolution which was determined 
in French art by Manet." 

He has a studio in Paris where he has large classes of students. 

His paintings have obtained for him medals and prizes in Paris, 
Munich, London, New York and Philadelphia. Is a member of popular 
art clubs in Paris, Munich, London, New York and Philadelphia. Was 
elected associate member of the National Academj^ of Design, in 1898 ; 
full member in 1901. 

Hassam, Childe, (P.) b. Boston, Mass., October 17, 1859. Educated 
in Boston public schools and studied art in Boston and Paris, 1886-9. Is 



112 

the best known follower of Mouet in this country — our foremost impres- 
sionist since the death of Theodore Robinson. 

Has been singularly successful in competition, winning medals in 
Paris, Munich, Chicago, Philadelphia, Pittsburgh, Buffalo and St. Louis, 
and awarded prizes by many American art clubs and societies. He is a 
member of the Ten American Painters, Society Nationale des Beaux Arts, 
Paris, The Secessionists, Munich, and National Academy of Design, New 
York. 

"Subjects" he says, ''suggest to me a color scheme, and I just paint; 
some one else might see a riot of color where I see only w^hites and drabs 
and buffs." 

"June" is one of his prize paintings. Other well-known works are: 

"Isles of Shoals series" "The green. New Haven" 

"Paris — winter" "Winter nightfall" 

"Inner harbor — Gloucester" "Plaza Centrale — Havana" 
"Bue Lafayette on a winter even- "Cat boats — Newport" 

ing" "The abilone shell" 

"The Chinese merchants" "Summer sea" 

"North shore, moonlight" "Penelope" 

"O'Ctober haze, Manhattan" "Lorelei" (prize painting) 

"A bowl of nasturtiums" "A New York window" 

"Improvisation" is a reverie in color based upon wistful expectancy. 
Its technique is mature and the sentiment unusually attractive and sin- 
cere. 

"He is primarily a great painter of air and soil, sea and ^kj. He feels 
the repose and beauty, the strength and immensity of nature in the 
simplest scenes. He has a definite aim, and every picture brings him 
nearer the goal. (Int. studio 29:267.) 

""When Coquelin, the French actor, was in America, he bought two of 
Hassam's impressionistic canvases to take back with him to France, de- 
claring at the time of purchase that the artist w^as the most able im- 
pressionist painter. The compliment was not ill-advisedly spoken and 
Hassam will easily maintain the rank assigned him." (Frederick W. 
Morton.) 

Kenyon Cox says: "With Mr. Hassam the subject matters nothing. 
Whether he paints the sea or the land, the cool nudity of- white nymphs 
among rose-tinted laurel-blossoms or the canyons of lower New York, his 
art is of the same quality ; and it is the freshness and vigor of his obser- 
vation, the solidit.y of his design, his sparkling light and color and the 
deft embroidery of his touch that inevitably attract and delight us." 

Mr. Hassam is a designer with a sense of balance and of classic grace 
almost equal to that of Corot, and he uses the impressionist method to 
express otherwise the shimmer of delicate foliage that Corot loved." 



113 

Hawthorne^ Charles Webster^ (P.) b. Maine, 1872. Student of Na- 
tional Academy of Design and Art Students' Leagne, New York. Teacher 
in New York schools of art; owner and instructor of Cape Cod School 
of Art, Provincetown, Mass. Associate member National Academy, 1908. 

First painted still life, then figures ; after a trip to Italy painted land- 
scapes ; also paints portraits. 

Hartmann says (Int. studio 26:261). "He is essentially a figure 
painter, a painter of "types" surrounded by a jumble of still life. The 

fishing folk of Cape Cod are his specialty In his men with oar 

and fishing tackle and his Portuguese fisher boys, we feel a whiff of the 

ocean and their environment is actually dripping with brine 

Hawthorne's art has not yet that expression of joy in expansive life 
which clings to Winslow Homer's figures, nor has it that anatomical 
grasp in character which is Eakin's strength. But it is just as vital, 
natural and wholesome." 

Arthur Hoeber writes (Int. studio 37 :sup. Ixv) : "The return" has a 
sentiment rarely secured by modern men. The expression of the young 
lad is splendidly caught and is full of youth, hope and courage, while as 
craftsmanship it is unsurpassed. "The auctioneer" is a type of the 
Provincetown fisherman that is to the life, while the painting is a veri- 
table tour de force. One cannot mistake here the man's call to the arts, 
for the painter is obvious in every brush stroke The little Vene- 
tian "Lemon girl" is a gem in its way." 

"The trousseau," now owned by the Metropolitan museum, was award- 
ed the Clarke prize in 1911 on the first ballot without a dissenting voice 
— ^an unprecedented honor in the history of the National Academy of 
Design. 

Other representative pictures are : 

"Fisher boy" "Home with the catch" 

"Fisher children" "The auctioneer" 

"Portuguese fisher boys" "The doyen of the fish market" 

"The fisherman's daughter" "Youth" 
"The boatman" 

Healy, George Peter Alexander, (P.) b. Boston, Mass., July 15, 1813; 
d. Chicago, 111., June 24, 1894. At the age of sixteen he began to copy 
prints and make likenesses of all who Avould sit for him. His first s^ic- 
cess was a copy on canvas of Guido Keni's "Ecce homo" which a Catholic 
priest purchased for |10 and placed in his church. He studied in Paris 
in 1836; went to Chicago in 1858; revisited Europe in 1869 and resirfed 
long in Eome. While in Rome painted portraits of Longfellow, Pope 
Pius IX, Princess Oldenberg and other distinguished persons. He also 
15 



114 

painted the portraits of Louis Philippe, Guizot, Thier, Gambetta, Web- 
ster, Clay, Lincoln and Grant, and many hundred more distinguished 
persons. The number of portraits that he painted was enormous. 

At his best, his heads are strong, dignified and characteristic. 

He also produced large historic pictures, his "Franklin before Louis 
XVI," won the third-class medal at the Paris salon in 1840 and his "Web- 
ster's reply to Hayne" now hangs in Faneuil Hall, Boston. 

Heinigke^ Otto, b. Brooklyn, New York, 18.51. A mural painter, but 
makes a specialty of stained glass. Also a writer. 

Heinri^ Kobeut, (P.) b. Cincinnati, O., 1865. Received his education 
in the western cities and in New York. Studied art in the Pennsylvania 
Academy of the Fine Arts, also studied without instructions for years 
in France, Spain and Italy. Has exhibited at Paris salons and won 
several prizes at competitive exhibitions in the United States. Member 
of the National Academy of Design, New York, since 1906. 

"The snow" was purchased in 1899 by the French government for the 
Luxembourg. "Girl in white waist" was purchased by the Carnegie In- 
stitute, Pittsburgh, for the permanent collection. 

Other pictures are : 

"Girl with red hair" "Little girl holding her hat" 

"Happy Hollander" 

Isham says : "Mr. Robert Henri is the most characteristic of the 

younger group of painters his best works are from carefully 

chosen models His girls are modern, complex and rather mys- 
terious. His workmanship is broad and sure, insistently masterly, with 
great richness of surface and harmony of tone in the simple scheme of 
black and white and flesh color." 

Hartmann says of Henri : "A street scene painter whose aim is rather 
to seize the mystery, the passion, the despair as well as the gaiety of a 
modern metropolis, than to describe its merely topographical features." 

"Woman with cloak" is much admired by the artistic few; its soft and 
harmonious background suggests Whistler. (Brush & P. 4:200.) 

"Mr. Henri's Irish types are full of life and color, splendidly character- 
ized and modeled. He would do well to subdue a tendency to over- 
punctuate with dashes of flesh color of very violent reds and crimsons." 
(Int. studio 52 :iii.) 

Heirter, Albert, (Mural P.) b. New York, March 2, 1871. He studied 
art with Carroll Beckwith; also with Laurens and Cormon in Paris. 
Mr. Herter has won many medals and prizes and received honorable men- 



115 

tion in the Paris salon of 1890. In 1910 he was elected an associate 
member of the National Academy of Design. 

Five years ago he brought over from France weavers and looms and 
established a factory for tapestries and textiles, designing the patterns 
himself. 

His latest achievement has been in mural painting, and among recent 
wall paintings of note is a series of decorations for the dining room of 
the St. Francis Hotel, San Francisco, w^hich he painted in his studio in 
East Hampton, L. I. Seven wall spaces are covered w^ith an allegorical 
pageant marking the progress of civilization. 

'The color effect of the decoration as a whole is remarkably har- 
monious. In each panel there is brilliant red, considerable blue and 
still more green." (House Beautiful 37:12.) 

HiGGiNS^ EuGENEi, (P.) b. Kausas City, Mo., February, 1874. Attended 
the art school in St. Louis, Mo., and later studied in Paris under Laurens, 
Benjamin-Constant, Gerome and at the Ecole des Beaux Arts, 

Poverty is Mr. Higgins' art inspiration and he is called the Maxim 
Oorky of painting. 

His mother died when he was four years of age and he thenceforth 
lived in cheap boarding houses with his father who was a stone-cutter by 
trade. Here "he came in close contact with types of dissolute and luck- 
less humanity, such as he now loves to paint." 

When a lad of twelve, an article on Millet gave him his first impulse 
to be a painter. Millet and Victor Hugo have largely moulded his en- 
tire life. 

During his sojourn in Paris his paintings were shown in the exhibi- 
tions of the American Art Association and a few of his works were well 
hung in the New Salon. He returned to the L^nited States in 1901. 

John Spargo, in the Craftsman 12 :141, says : 'The question has been 
raised whether such subjects as Mr. Higgins chooses are suited to the 
medium of canvas and paint or whether they do not belong rather to 
literature." 

He portrays the pathetic, the helpless, the ruined, the despised and 
the rejected of humanity. 

Hills, Laura Coombs, (Min. P.) b. Newburyport. Mass., September 7, 
1859. Pupil of Helen M. Knowlton, Art Students' League of New York 
and Cowles Art School in Boston. 

Received medal at Paris Exposition, 1900 ; second Corcoran prize, 
1901; silver medal Pan-American Exposition, Buffalo, 1901; associate 
member National Academy, 1906 ; vice president American Society of 
Miniature Painters and the first miniature painter to be elected to the 
Society of American Artists. Although never taught miniature paint- 



116 

ing, Miss Hills is recognized as a most skilful miniature painter and has. 
gained honors both at home and abroad in this particular form of art. 

Her first exhibit was ^^Seven pretty girls of Newburyport." ''The 
bride" a harmony in grsij, gold and blue, was one of the most evanescent- 
ly delicate pieces at a recent exhibition. ''The black mantle," "Fire 
opal," "Butterfly" and "Goldfish" represent the most modern develop- 
ment of all, the essentially pictorial miniature. In these fanciful sub- 
jects she takes a place among colorists of the first rank. Her minia- 
ture of Alice Brown is full of insight and penetration ; the portrait of 
Mr. Arthur Harlow has all the breadth and dignity of a large portrait 
with the charm peculiar to the miniature; the charming little head of 
Dorothy S. is frank and altogether lovely; the portrait of little Miss 
Hale is as wholly delightful a child portrait as one could ask. (Int. 
studio 41 :xlvi.) 

Frances Duncan in Avriting of Miss Hills' work said : "Her portraits 
are not large portraits done small, but essentially miniature; they have 
that exquisite jewel-like quality peculiar to the miniature in the hands 
of the few masters of this exquisite and lovely art, the quality which will 
make miniature painting a thing apart." 

"She understands the emotion of color and by a graceful dexterity 
masters its adaptation to its subject." (Critic 47:523.) 

"Her portraits are always big in conception and she appears- to be little 
hampered by the tiny brushes and the elusive quality of the ivory." 

The portrait of Master Donald Moffat was the chef d'oeuvre at a re- 
cent exhibition of the Miniature Society. 

Alice T. Searle says: "Miss Hills is never dull but in the center one of 
her group of three large ovals [at a recent exhibition], the portrait of 
Miss Isobel da Costa Green, she outshone her own brilliant past." 

Hitchcock, George^ (P., I.) b. Providence, R. I., September 29, 1850; 
d. at Island of Marken, Netherlands, August 2, 1913. Graduated from 
Brown University in 1872 and from Harvard Law School in 1874; ad- 
mitted to the bar both in Providence and in New York, he remained in 
the law until twenty-nine when he definitely gave over jurisprudence 
for the palette; was a pupil of Lefebvre and Boulanger in Paris and of 
H. W. Mesdag at The Hague, an academic painter in Paris and a marine 
painter under Mesdag, he did not really discover himself until he found 
the tulip fields of Egmond near Amsterdam. The Egmond school is the 
result of his paintings. While he resided there seventeen studios sprang 
up and three hundred pupils came to him. 

Mr. Hitchcock's "Tulip culture" was the foundation of his reputation 
in the Paris salon of 1887. 

"Few artists before him have been impressed as he was by the Haarlent 



117 

tulip beds and the great brilliant tapestries formed by the variegated 
hyacinths of the Low Countries." 

Mr. Hitchcock prefers Holland in one mood. "Holland flooded in 
sunlight and covered with a multi-colored floral carpet is the Holland 
Mr. Hitchcock puts on canvas." "A figure painter quite as unmistake- 
ably as a landscape painter, he combines both elements on even terms." 
(Cent, 48:318.) 

Among the most engaging of his Dutch compositions are : 

"The mob cap" "In Brabant" 

''Hyacinths" "Holland morning" 

"Maternity" "Sun-flecked" 

"The epitome of Holland" "Sunday in Zeeland" 
"Flower girl in Holland" 

Mr. Hitchcock's art is not limited to Dutch subjects. He has painted 
a number of pictures dealing with religious and mythical subjects. 
Among these may be mentioned : 

"Annunciation" "Vanquished" 

"Flight into Egypt" "Ariadne" 

"Mary at the house of Elizabeth" "Sappho" 

"Saint George" "Calypso" 
"Hagar and Ishmael" 

Mr. Hitchcock received honorable mention, gold medals and other 
coveted prizes. He was a member of the Munich Secessionists, Paris So- 
ciety of American Painters, the Vienna Academy and an officer in the 
Order of Franz Josef; also an associate member of the National Acad- 
emy of Design, New York^ 1909. 

Hitchcock^ Lucius Wolcott, (I.) b. West Williamsfield, O., December 
2, 1868. Pupil of Art Students' League of New York, Lefebvre, Benjamin- 
Constant, Laurens and Colarossi Academy, Paris. Received honorable 
mention at Pan-American Exposition, Bufl'alo, 1901; silver medal for il- 
lustration and bronze medal for painting at the St. Louis Exposition, 
1904. Also a teacher. 

HoMEiR^ WiNSLOw^ (P.) b. Bostou, Mass., February 24, 1836; d. Scar- 
borough, Maine, September 29, 1910. At the age of nineteen he entered 
the employ of a lithographer in Boston. In 1859 he settled in New York, 
studying in the school of the National Academy of Design and under F. 
Rondel. He was elected associate member of the academy in 1864; aca- 
demician in 1865. 



118 

During the civil war he was special correspondent and artist for 
Harper, and his first works in oil which brought him prominently be- 
for the public as an artist were "Prisoners from the front," ''Home, sweet 
home," "Zonaves pitching quoits." Then came studies of negro life and 
character, his "Visit from the old mistress" being one of the best pic- 
tures of negro life. Later he painted the landscape of the Adirondacks, 
then the seafaring people of the New England coast whose life he has 
interpreted with remarkable poetry and understanding. But it is in 
his delineation of the ocean, however, that Homer's genius reached its 
greatest heights. 

"It is not the charm of the ocean that he paints. The mood in which 
he excels is morose, — it is threatening, lowering, savage." 

"He is unquestionably the most strictly national painter America has 
produced, and for that reason he is one of the greatest, if not the great- 
est. His sea is the watery Avaste, an expression of tremendous force, 
mystery, peril ; his landscapes are redolent of the primeval forests of the 
new world, its bleak hills, its crags, his men and women are pioneers, 
fishermen, seafaring folk." (Brush & P. 10:40.) 

"Cannon rock" is one of his greatest works; "Gulf stream" and "Under- 
tow" are strongly dramatic. 

He has made delightful records^ — ^joyous and brilliant notes — of his 
trips to the Bermudas and Bahamas in a group of water colors. 

Among his marine masterpieces are: 

"A light on the sea" "On a leeshore" 

"The breaker" "The lookout— All's well" 

. "The wreck" "A summer night" 
^ "Watching the breakers — a high "The fog Avarning" 

sea" "Kissing the moon" 

"The life line" "A summer squall" 

"Sunlight on the coast" "High cliff, coast of Maine" 

, Walter Pach, the writer, considers Winslow Homer the greatest Ameri- 
can artist. "Homer's renunciation of the joys of color marks him as 
the stern puritan of the north," he says ; and later he compares him to 
Milton. "Kenouncing color, his genius sought consolation in the impres- 
sive organization of grand forms, in respect for the individuality of the 
sea, the sky and the earth in the almost Tanagra-like grace of human 
figures." . 

"Winslow Homer is an absolutely original and national artist; he 
is the first exponent of pictorial art in the new Avorld. He presents the 
unique phenomenon of an American painter whose Avork has in it not 
the least scintilla or hint of Europe or of Asia." (Brush & P., 10:40.) 



119 

HoPKiN, Robert^ (P.) b. Glasgow, Scotland, January 3, 1832; d. De- 
troit, Michigan, March 21, 1909. Went to Detroit, Michigan, with his 
parents when eleven years of age and lived there practically all his life. 

Mr. Hopkin as a boy grew up on Detroit wharves ; received his ap- 
prenticeship in mixing colors for decorators and made his living as a 
scenic artist. For many years he was the leader and patriarch of De- 
troit artists. At one time was president of the Detroit Association of 
Arts; also a member of the Society of Western Artists and of the De- 
troit Water Color Society. His most important work is a series of six 
paintings for the Cotton Exchange, New Orleans, La. He also painted 
many drop curtains for Chicago, Denver, Toronto and other cities. 

C. Lewis Hind, the English art critic, when in Detroit saw Hopkin's 
works for the first time and said of them : ''No critic could den^^ to them 
a place among the very first pictures. They are wonderful, enchanting, 
powerful, great." 

Director Griffith of the Museum of Art, Detroit, said : "I believe his 
modesty, charming as it Avas, was a great injustice to himself and to 
the Avorld Modesty robbed him of fame due a master hand." 

His landscapes, figures and interiors are just as suggestive of his 
poetic jjower of expression as are his marines. (Detroit Free Press, 
March 22, 1909.) 

Hornby^ Leister G., (E.). Began to etch in this country and pro- 
duced many plates descriptive of New England before he Avent to Paris 
in 1906. He has traveled much in foreign lands and has been a regular 
exhibitor at the Salon des Artistes Francais, and at many of the lead- 
ing art exhibits held throughout Europe. 

Among his most attractive plates are those made in Timis during the 
winter of 1908, 

''Story teller" ''Passage Arabs" 

"Vegetable dealers" "Marabout tombs" ' 

"The musicians" x 

His French plates are enthusiastically regarded by those who love 
Paris : 

"Pont Neuf (rainy day)" "The old court in Rue Vercinge- 

"Euildings of the Quai" torix" 

"L'Hiver an Jardin du Luxem- "St. Nicholas des Champs" 

bourg" "Little balconies" 

"Oour des Reines" "Boulevard de Montparnasse" 

"La lettre d^Amour" 

Light heartedness of the Paris of the Boulevards, melancholy beauties 



120 

of the Old Quarter, and the mystery which pervades the life of the far 
East are interpreted with equal facility. The "Lady aux Ambassadeurs," 
the "Model," "A la gaite, Montparnasse" gives evidence of wide versa- 
tility. 

It is in comprehensive outlook that much of the strength of Mr. Horn- 
by's plates lie ; this keen interest of the life of the people combined with 
forceful powers of expression are the qualities that combine to make 
the great etcher. 

HoRTO'N, William Samuel, (P.) b. Grand Rapids, Michigan, Novem- 
ber 16, 1865. Pupil of Art Students' League and National Academy of 
Design in New York ; Laurens and Julien Academy in Paris. Received 
gold medal at the International Exposition at Nantes, 1904, and medal, 
second-class, at Orleans, France, 1905. Member of the New York Water 
Color Club; Cercle Yolney and Salon d'Automne, Paris. Also a writer. 

HosMER^ Harriet, (S.) b. Watertown, Mass., October 6, 1830; d. 
Watertown, Mass., February 21, 1908. She was educated at Lenox, 
Mass., and displayed a taste for art at an early age ; studied drawing and 
modeling in Boston. In 1850 she went to St. Louis, Mo., to study 
anatomy as she could not obtain a course in anatomy from any college 
in New England because of her sex. Through the influence of friends 
she was admitted to the medical department of the Missouri State Uni- 
versity. In 1852 with her father and Charlotte Cushman she took pas- 
sage for Italy. In Rome she became the pupil of the English sculptor 
Gibson with whom she remained seven years. 

Her first works were ideal heads^ — "Daphne" and "Medusa." They 
were enthusiastically praised by Gibson and Ranch and were exhibited 
in Boston in 1853. "Sleeping faun" was exhibited at the Dublin Exhi- 
bition of 1865 and was sold on the opening day for |5,000. The Lon- 
don Times said : "In the group of statues are many works of exquisite 
beauty, but there is one which at once arrests attention and elicits ad- 
miration. It isi the "Sleeping faun and satyr" by Miss Hosmer." An 
Italian publication of the same date contained the following : "The gem 
of the classic school, in its nobler style of composition is due to an 
American artist, Harriet Hosmer." Sir Charles Eastlake said : "If 
it had been discovered among the ruins of Rome or Pompeii it would 
have been pronounced one of the best Grecian statues," and John Gibson, 
the sculptor said, "It is worthy to be an antique." 

"Beatrice Cenci" has much grace and the beauty is of a very intelli- 
gible kind ; it is now in the Public Library of St. Louis. "Puck" was so 
popular that thirty replicas were made. The Prince of Wales and the 
Duke of Hamilton each ordered a copy. Its companion piece, "Will-o'- 
the-wisp" is pretty and fanciful. 



121 

Nathaniel Hawthorne speaks of Miss Hosmer's ''Zenobia" as "a very 
noble and remarkable statue indeed, full of dignity and beauty." 

While in Rome she received a commission for a memorial to Madame 
Falconnet's daughter to be placed in the Church of San Andrea delle 
Fratte. This. was a great distinction, for she Avas the first artist other 
than an Italian to be permitted to place her work in one of the churches 
of Rome. 

Her much criticized statue of Col. Benton in Lafayette Park, St. 
Louis, Mo., Avas satisfactory to his daughter, Mrs. Fremont, who at the 
uuA^eiling said : ''She has caught my father's very expression and his 
attitude." 

The ''BroAA'ning hands" were brought to the United States by Miss 
Hosmer and presented to her niece although she was offered |5,000 to 
leaA'e them in England. A cast of these hands was given to the Art Insti- 
tute, Chicago. 

JarA^es, in his "Art idea," says: "She (Miss Hosmer) has no creatiA^e 
j)OAA'er, but has acquired no small degree of dignity and beauty." 

Miss Hosmer made a number of discoveries and inventions, including 
a process of giving Italian limestone the hardness of marble. 

HoA^ENDEN, Thomas, (P.) b. DunmauAA^ay, Ireland, December 28, 1840; 
was killed on August 14, 1895, in an unsuccessful effort to saA^e an un- 
knoAvn child from being killed by a railway train. He studied in the 
Cork school of Design. Came to the United States in 1863 but it was 
not until 1872 that he began to follow art as a profession. In 1874 he 
went to Paris and entered the studio of Cabanel where he remained un- 
til 1880 when he returned to the United States. He was elected asso- 
ciate member of the National Academy of Design, New York, in 1881 ; 
academician, 1882. 

His first notable painting Avas a "Breton interior of 1793." "Break- 
ing home ties" Avas one of the most | :(»]>ular paintings at the Columbian 
Exposition, 1893. "Last moments of John Brown" which hangs in the 
Metropolitan Museum of Art, New York, is an especially chaiacteristic 
cauA^as. Critics concur in esteeming "Elaine" as his masterpiece. "As 
a powerful allegorical picture it stands unriA^aled among the produc- 
tions of American genius." 

Popular paintings are : 



"Jerusalem the golden" "Thinking of somebody" 

"The two lilies" "News from the conscript" 

"A Brittany woman spinning" "Pride of the old folks" 

"Pleasant news" "Peasant soldiers of La Vendee" 
"The image seller" 



122 

His is the story-telling picture and the story is told clearly and 
beautifully, 

HowE^ William Heinry, (P.) b. Ravenna, O., 1846. Pupil of Otto de 
Thoren and F. de Vuillefroy in Paris. Received honorable mention, New 
Oirleans, 1885; honorable mention, Paris salon, 1886; third-class medal, 
Paris salon, 1888; silver medal, Paris Exposition, 1889; Temple gold 
medal Pennsylvania Academy of the Fine Arts, 1890; grand medal, Crys- 
tal Palace, London, 1890; officier d' Academic, Paris, 1896; chevalier Le- 
gion of Honor, 1899 ; member of National Academy of Design, New York^ 
1897. 

Mr. Howe has won fame as the painter of landscapes with cattle. His 
earlier work shows strongly the influence of such masters as Van Marcke 
and Tryon. His later work is of rare quality and possesses a distinct 
personal style. 

Among his best known paintings are : 

'The truants" ''Korten Hof meadows" 

"In the orchard" "Cattle at rest" 

''Morning" "Returning from the heath" 

HuBBELL, Henry Salem, (P.) b. in the United States. Pupil of Art 
Institute Chicago, Whistler, Collin, Laurens and Benjamin-Constant in 
Paris. Received honorable mention in the Paris salon, 1901. Is a mem- 
ber of the Paris American Artists Association and Paris Society of 
American Painters. Was elected associate member of the National Acad- 
emy, 1905. 

His original training w^as in illustration, and it was not until 1900, 
two years after his arrival in Paris, that he "entered upon the study of 
painting proper^' and then visited Spain. In the salon of 1909 he was 
represented by two canvases — "Caprice" and "Autumn leaves." "Each 
of these compositions presents a decorative pattern of forms and spaces 
and a color scheme that is choice and reserved." (Harp. 118:289.) 

Of an exhibition of eleven canvases by this artist at the Art Institute, 
Chicago, Art and Progress (2:47) writes: ''With the exception of an ex- 
quisitely painted interior and a study — "The black fan," all are por- 
traits. His prize picture, "The departure," a life-size portrait of a lady 
in a long green cloak and a large hat enveloped with a veil, is a harmony 
in green with a setting of browns. Mr. Hubbell paints with virile and 
robust temper ; and in the portrait of Miss B, a beautiful young woman 
in pink evening gown, in "Serena," a young girl in gray in a shaded 
room, in "Sylvia," another young girl, in "Winthrop," a boy, and the 
extraordinary likeness of "Aunt Lizzie Aiken," there is a strength and 
truth as well as joyousness of interpretation, which command attention." 



123 

Humphreys^ Marie Ohampney^ (Min. P..) b. Deerfield, Mass., 1867: 
d. New Eochelle, N. Y.. December 1, 1906. Was married November 22, 
1899, to John Sanford Humphreys. 

Was a miniature painter. Exhibited in Europe and America. 

HuNT^ William Morris, (P., Mural P.) b. Brattleboro, Vt., March 31, 
1824 ; d. Appledore, Isles of Shoals, N. H., September 8, 1879. He be- 
gan his art studies in the Koyal Academy, London, and later went to 
Diisseldorf. OriginallY he intended to become a sculptor but abandoned 
this design and studied imder Couture in Paris. While in Paris he was 
brought into intimate relations Avith Diaz, and at Barbizon was asso- 
ciated with Millet. In 1855 he returned to the United States and settled 
in Boston. 

The present admiration in this country for modern French art can 
be directly traced to his adyocacy. In his art he liked better to suggest 
form than to portray it with strong outlines. 

He painted many portraits of noted people and also made many origi- 
nal sketches of types of Parisian life; among them, "The street musi- 
cian," ^^Girl at the fountain," ''Child selling yiolets." 

Among his more important works are: 

"The drummer boy" "Bugle call" 

"Boy chasing a butterfly" "The Marguerites" 

"The morning star" "The belated kid" 

"Girl reading" "Girl with cap" 

Of Mr. Hunt's "Bathers" a well-known connoisseur has said : "It is 
one of the three or four paintings of the nude in the nineteenth century 
which a Greek would haye understood and admired." 

In 1878 his mural paintings were put up in the Senate Chamber in 
the Albany state house, and in this work — "Flight of night" and "The 
discoyerer,'- he had a true conception of mural painting. 

Liibke says : "'He was the first American to give to the world large 
mural paintings of artistic importance Many of his smaller pic- 
tures haye great charm, and he is always a forceful technician." 

Hunt's place in art can never be overestimated for his power of per- 
sonality made him exert tremendous influence on the students that flocked 
around him. 

HuTCHENS, Frank Townseind, (P.) b. Canandaigua. N. Y., June 7, 
1869. Pupil of the Art Students' Institute of New York under Wiles, 
Dumond and Mowbray; Julien Academy under Benjamin-Constant and 
Laurens and Colarossi Academy in Paris. 

"Hutchens is a painter of moods. A peculiar atmospheric condition, 



124 

a sweep of wind across the landscape, or a sudden luminosity of sky is 
sufficient to him to lend a simple road or bit of forest land a peculiar and 
permanent fascination. 

He is particularly fond of sunlig"ht, and its golden luster embellishes 
the simplest objects with a true touch of poetry. But it is the poetry of 
nature, of contrast and color, or in other words an expression of com- 
plete pictorial sanity.'' 

He is an excellent draughtsman — perhaps best shown in his figure 
work. 

Many of his canvases have hung on the walls of the Royal Academy, 
the New York Academy and the leading galleries of America. 

"The marriage column" 

'^A song in the sky" (Int. studio 47:160.) 

HuTT^ Henry, (I.) b. Chicago, 111., December 18, 1875. After a short 
season in instruction at the Art Institute of Chicago, he opened a studio 
in New York City, his commissions warranting the step. His first im- 
portant undertakings were the illustrations for a continued story for 
the Saturday Evening Post ; has illustrated many leading magazines and 
periodicals, books, etc. 

Mr. Hutt likes women and children for his subjects, depicting them 
with finesse and daintiness of execution. His characters suggest spon- 
taneity and human naturalness but they are usually in a setting too 
decorative for reality. 

''His line is quaint and often whimsical with an almost picturesque 
ensemble, and he conveys his interpretation with sentiment and a re- 
dundant sense of beauty." 

"He makes clothes tell their portion of the story, but perhaps he is 
more an apostle of the well-dressed than is Mr. Fisher." (Bk-buyer 
22:23.) 

Hyatt^ Anna Vaughan, (S.) b. Cambridge, Mass., March 10, 1876. 
A musician— -an artistic performer on the violin — during an attack of 
nervous prostration. Miss Hyatt found recreation in modeling clay. This 
diversion was the means of her abandoning her musical career, for upon 
recovery of health she chose sculpture for her life work, studying with 
Henry Hudson Kitson and at the Art Students' League, New York. She 
has been represented in many of the leading exhibitions throughout the 
country during the past ten years, and was represented in the salon of 
1910. 

Wild animals are Miss Hyatt's specialty and she is the only American 
woman sculptor who studies nothing but animals. 

At an exhibition of her works in New York, 1914, there were dis- 
played forty-three animal subjects. A few were: "The Whirlwind" 



125 

showing- a lioness and crane; "Jagular," ''White Horses of the Sea," 
"A Yearling Colt," "Bull's Head," "Rolling Bear," "Fox and Geese," 
and "Pigs Under Fence." 

"Her animals are most assertive in character and away from the con- 
ventionalized forms we have seen for years by the hundreds .... Miss 
Hyatt seems to comprehend the psychology of each and every animal 
she models." (Arts and D. Jan., 1912). 

"She divides her time about equally between horses and jungle beasts, 
and has exhibited many groups of elephants, tigers and lions which show 
not only breadth and depth of feeling but much strength in execution." 

Anna V. Hyatt's group of eight plunging horses is a remarkable piece 
of work and is accorded by critics a place of equality with Borglum's 
famous "Mares of Diomedes." (Arts and D. 2:296.) 

Among other things Miss Hyatt has restored prehistoric animals for 
the Brooklyn Museum. 

Her most important bronzes are : "Winter," "A steep grade," "Colts 
playing," "Colts in the storm," "Goats butting," etc. 

Miss Hyatt has collaborated with Miss Abastenia St. Leger Eberle 
another American young woman who has abandoned music for sculpture. 
Their first group, ''Men and bull" was awarded a medal at the St. Louis 
Exposition ; "Boy and goat playing" is another fine group done in col- 
1 aboration . ( Craftsman 8 :623 ) . 

"In Miss Hyatt we have no doubt the greatest w^oman exponent of 
animal life in this country .... She presents the animal to us as only 
one who knows and understands it can, and reproduces a living thing 
in all its fullness of strength and natural expression." (Arts and D. 
4:229.) 

Hydei, Helen, (E). b Lima, N. Y., April 6, 1868; pupil of Emil Carlsen 
in New York ; Raphael Collin in Paris, Skarbina in Berlin, and Kano 
Tomanobu in Jajran. Specialty : Japanese subjects in colored wood 
blocks and etching. 

Among the artists in Europe and America w^ho have adopted the Japan- 
ese form of art for the expression of their own ideas. Miss Helen Hyde, 
a gifted young American, takes high rank. After devoting two years 
to the task of acquiring the Japanese method of wielding the brush she 
w^as rewarded when her Japanese master asked her to paint a kakemono 
for the annual spring exhibition. She did so, calling her picture "A 
monarch of Japan." This picture was awarded first prize on the strength 
of excellent handling of a particularly difficult brush — for it is by the 
merits or demerits of skilful brushwork that Japanese pictures are 
chiefly valued. 

Miss Hyde reproduces her compositions in the form of color prints, 
and has become famous in this field of art. 



126 

A few of her popular prints are : 

^'Secrets" '^The bamboo fence" 

"The lucky branch" "Belated" 

"The mirror" "The blossom child" 

"Happiness flower" "Day dreams" 

"The greeting" "Baby San" 

"Baby and toy" "In his father's shoes" 

"Rainy evening" "Child of the people" 

"A snowy day in Japan" 

One of Miss Hyde's most successful etchings is "Little cherry blossom." 
"Perhaps the greatest triumph in Miss Hyde's work lies in the success- 
ful rendering of atmosphere which is delicately suggestive of the flower- 
blossom country In "The rainy day" we have this quality at 

its best." (Int. studio 24:239.) 

Miss Hyde has recently painted in Mexico; also Avritten of the "Color 
lure of Mexico." Several of these paintings are particularly interesting 
because of the evident Japanese influence upon the artist's style. 

INMAN, Henry, (P., Min. P.) b. Iltica, K. Y., October 20, 1801; d. New 
York, January 17, 1846. He displayed talent for art as a lad but he 
inclined to a military career and had secured a commission to enter 
the West Point Academy when he saw Westmuller's famous "Danae" 
in the studio of John Wesley Jarvis in New York. He immediately pre- 
sented himself as a candidate for artistic instructions; was accepted 
and studied with Jarvis several years. For years he executed miniature, 
cabinet and life-size portraits, practiced lithographic drawing and 
sketched scenery with rare assiduity and success. He was one of the 
founders of the National Academy of Design in 1825 and was elected 
its first vice-president. 

Mr. Inman went to Europe in 1845 and while in England painted the 
portraits of Woodsworth, Macauley, Dr. Thomas Chalmers and others; 
returning to America he also painted the portraits of many distinguished 
persons. 

His landscapes and genre compositions include: 

"Scenes from the Bride of Lam- "The newsboy" 

mermoor" "The brothers" 

"Rydal Falls, England" "Woodland scene" 

"Mumble-the-peg" "Rip Van Winkle" 

"The sisters" "Boyhood of Washington" 

"Ruins of Brambletye house" "Lake of the Dismal Swamp" 
"Birnan wood" 



127 

^'In his happiest efforts at portraiture wherein there was great in- 
equality viewed as a whole, Inman has been compared to Sir Thomas 
Lawrence : his rapidity of execution was uncommon ; a ''delicate mot- 
tling" was often admired in his color, a completeness and neatness ot 
style in his landscapes, and skilful manipulation in the works undertaken 
oon a more J while it is conceded that he was the first American artist 
who attempted genre with success." (Tuckerman.) 

Inness, George^ (P) b. Xewburg, N. Y., May 1, 1825; d. Bridge of 
Allan, Scotland, August 3, 1894. At the age of sixteen he began to 
study engraving in New York; studied art in the studio of Regis Gignoux, 
New York; in 1846 he began the practice of landscape painting and in 
1850 went abroad where he became acquainted with Corot and Rousseau, 
and enjoyed, for a time the close companionship of Millet. He is gen- 
erally considered our greatest landscape painter. "American sunset" 
was selected in 1867 by the Paris salon as a representative work of 
American art. He was elected member of the National Academy of 
Design, in 1868. 

"With him the inspiring idea is principal, form secondary being the 
(jutgrowth of the idea. His pictures illustrate phases of mind and feel- 
ings. He uses nature's forms simply as language to express thought." 
(Tuckerman.) 

"Inness was a master of atmosphere, and added the poetry of color to 

the perfection of drawing He idealized all his creations with 

magical light effects. Such deep luminous lights had never been seen 
before on American canvases." (Hartmann.) 

" 'Moonlight' fully represents Inness' idea of the night. He had a 
strong leaning to the occult and many of his paintings have a spiritual 
and allegorical significance. Inness' paintings stand in American art 
where those of Rousseau and Corot do in that of France." (Nat. Cjc. 
Am. B.) 

"Inness gives with equal felicity the drowsy heat, hot shimmer and 
languid quiet of a summer noon, or the storm weighed atmosphere; its 
dark masses of vapor and the wild gathering of thunder clouds with 
their solemn hush before the tempest breaks. He uses sunlight sparingly, 
but it glows on his canvas and turns darkness into hope and joy." 
(Jarves "Art Idea.'') 

"Delaware valley" is considered by many to be his masterpiece. 

Arthur Hoeber says: "At his [Inness'] best he yields to no man in his 
profession as an interpreter of nature out of doors." 

Van Dyke says: "Inness is more allied to Corot than to Meissonier. 
He never was the perfect master of the brush that we have heard him 
called, though he was an acceptable and often a very satisfactory tech- 




GEORGE INNESS. 

By George Inness Jr. 



129 

nician It was with color, light and air that Inness scored his 

greatest success." 

"His subjects are related to human life and possibly our inlorest in 
his pictures is due to the fact that he shows thoughts, emotions and 
sensations comprehensible of humanity " 

"Inness must be ranked here as the discoverer of the American meadow 
and woodland — a new realm of beauty. It is possibly his most lasting 

title to fame And Inness found all the material he 

needed within fifty miles of New York. It was the original discovery 
of this material, his point of view regarding it, what he did with it and 
what he made us see in it, that gives him high rank in the history of 
American painting." 

Liibke says : ''He was like Corot in his indifference to the minute 
facts of the country before him, and like Corot in his disposition ta 
harmonize sombre foliage and pale distant sky into a lovely harmony, 
but he was more eager than was Corot to seize the brilliant color of 
sunset and to use his gray-green trees as a solid frame for those glowing 
effects." 

A list of Inness' principal paintings in public collections, also bibli- 
ography and magazine article references are given in "Masters in Art," 
Vol. 9. 

Inness^ Georgik, Jr.^ (P) b. Paris, France, January 4, 1854. The son 
of George Inness. Was a pupil of his father in Kome, 1870-4 ; studied one 
year with Bonnat in Paris. Obtained gold medal in Paris salon 1899; 
also gold and silver medals at various exhibitions in the United States. 
Has a studio in New York. Devotes himself to animal painting. Has 
exhibited at the National Academy of Design, New York, since 1877, 
when he sent "The ford" and "Patience." 

A few of his paintings are : 

"Monarch of the farm" "At the brook" 

"The pride of the dairy" "Abandoned" 

"Waiting for the master^' "Maternity" 
"New born lamb" 

Member of the National Academy of Design, New York, since 1899; 
and of the French Academy since 1902. 

Of his landscapes and atmospheric effects, Miither says : "The younger 
Inness has a fondness for departing thunder showers, rainbows and misty 
red sunbeams penetrating in the form of wedges through a sea of mist, 
and resting upon stony fields." 
17 



130 

IsHAM^ SA'Mueil, (P) b. New York, May 12, 1855; d. Easthampton, 
L. I., June 12, 1914. Graduated from Yale College in 1875. Had his first 
instruction in drawing in the art school under Professor Niemeyer. Dur- 
ing a three years' sojourn in Europe he had drawing lessons from Jac- 
quesson de la Chevreuse. On his return to the United States, he took up 
the study of law and practiced the profession for five years. In 1883 
he again took up art and went to Paris and entered the Academie Julien, 
studying four years under Boulanger and Lefebvre. Member Society 
American Artists, 1891; associate member National Academy, 1900, 
academician, 1906. Author of "History of American Painting." 

TvBis, Halseiy Cooley, (P.) b. Montour Falls, N. Y., October 27, 1847; 
d. London, England, May 5, 1911. Was a pupil of Alexander Piatowsky. 

In 1864 he entered the government service as a draughtsman and in 
1869 he began a study of decorative art; later he became an instructor 
in the Polytechnic school of St. Louis. In 1881, at the establishment of 
the Museum of Fine Arts, St. Louis, he became its director. He was 
decorated by King Oscar of Sweden with the Order of the Vasa and by 
King Christian of Denmark with the Dannebrog Cross. He received a 
♦silver medal at the St. Louis Exposition for his landscape ^'Waste lands," 
and has received decorations and medals for art services in this country, 
France, Austria, Japan, China, Portugal, Belgium, Bulgaria, Sweden and 
Denmark. A member of the National Sculpture Society, the National 
Art Club, the Academy of Science an dother organizations. (American 
Art Annual Vol. 9.) 

IvEis, Percy, (P.) b. Detroit, Mich., June 5, 1864. At the age of 
eighteen he entered the Pennsylvania Academy of the Fine Arts. In 
1885 he visited Europe, spending six months traveling in Scotland, 
TSngland, the Netherlands, Germany and Italy. He studied three years 
at the Academie Julien, Paris, under Boulanger, Lefebvre, Benjamin- 
Constant and Cormon. After a second visit to Paris in 1890 he was 
appointed dean of the Detroit Museum of Art. In 1893 he studied at the 
Ecole des Beaux Arts under Gerome and in the same year exhibited at 
the salon. 

Returning to Detroit in 1895 he resumed his position at the Museum 
of Art, since which time he has painted the portraits of many dis- 
tinguished Americans; has also done some landscape work. 

Mr. Ives was one of the organizers of the Society of Western Artists 
and is an incorporator and trustee of the Detroit Museum of Art. 

JoHANSEN, John Christen, (P.) b. Copenhagen, Denmark, November 
25, 1876. Was brought to this country when an infant and had a course 
of art study at the Art Institute, Chicago, in early boyhood. He studied 



131 

under Duveneck, Freer and Yanderpoel, then went to Paris and con- 
tinued his art studies with Benjamin-Constant and Jean Paul Laurens; 
later entered the class of Whistler. In 1901 he returned to the United 
States to become a member of the faculty of the Art Institute, Chicago, 
and at about that time identified himself with the Society of Western 
Artists. Eesigned as a teacher that he might devote more time to 
portrait painting, and in 1906 went to Italy sojourning long in A^enice. 
On his return, a special exhibition of his Venetian pictures was held 
in London. Instant recognition came to him and several of the canvases 
found places in prominent British collections. Arthur Hoeber in writing 
of this exhibition says: "Mr. Johansen scorned precedent. He depicted 

Venice in a way entirely his own There were pictures of the 

city at dawn, under golden haze at sunset, in suggestive opal fogs and 
always there was palpitating color with admirable drawing and con- 
struction to her streets, buildings and canals .... And the compositions 
were so generalized that the spectator delighted in their simplicity, ser- 
iousness and beauty. The color which was used generously was piled on 
in simple masses, broken and vibrating." (Int. studio 42:sup. iii.) 

At a later exhibition of American art held in Chicago, Mr. Johansen 
had ten canvases. "Each specimen proclaimed its separate personality," 
writes a critic. "At sundown" is remarkable for its unusual coloring. 
"The picture book" is a charming arrangement of light. "Autumn 
afternoon" is riotous in those subdued bright colorings with which Mr. 
Johansen is so clever. "When the day is done" is a poetic conception. 
"Evening calm" is a majestic essay of the hour. "Golden mists" demon- 
strates his skill in rendering. (Int. studio 26 :264.) 

"Mr. Johansen handles his architectural drawing firmly and well, 
but in a summary enough fashion to subordinate it to its more fluent, 
pictorial purpose." (Int. studio 40:lxxviii.) 

"Technique with Mr. Johansen is a medium of expression and in that 
guise is never employed to excite wonderment." 

As an illustrator Mr. Johansen has also been very successful and many 
consider that in this field he shows as much promise as in his pictorial 
productions. ^ 

Johnson, Eastman, (P.) b. Lovell, Maine, July 29, 1824; d. New York, 
April 5, 1906. As a young man he began the practice of his profession by 
the execution of portraits in black and white, showing considerable skill 
and meeting with some success. 

In 1849 he went abroad and shared the studio of Emanuel Leutze at 
Diisseldorf, Prussia. He studied art four years at The Hague and then 
proceeded to Paris. Eeturned to the United States in 1856. 

His first important works were "Card players" and "Savoyard boy." 



132 

He opened a studio in New York upon returning to the United States and 
was made a member of the National Academy of Design, in 1860. 

Here he painted those pictures of American domestic and Negro life 
in which he so decidedly excelled. In accurate delineation of character 
"The old Kentucky home" is hardly surpassed. 

Tuckerman says: "In his delineation of the Negro, Eastman Johnson 
has achieyed a peculiar fame. One may find in his best pictures of this 
class a better insight into the normal character of that unfortunate race 
than ethnological discussion often yields." 

He was a power in American art life to the very last. He painted a 
large number of portraits, and his self-painted portrait, painted in 1899) 
is technically superior to anything executed by him during the first fifty 
years of his life. (Artists of the Nineteenth Century.) 

Johnson, Marshall^ (P.) b. Boston, Mass.; pupil of the Lowell Insti- 
tute; member of the Boston Art Club and Copley Society. Address : 184 
Boylston Street, Boston, Mass. 

Painter of "United States Frigate Constitution." 

Johnston^ John Humphreys^ (P.) b. New York, November 2, 1857. 
Studied art under John LaFarge. In 1899 he went to Paris where he 
studied under Lefebyre and Doucet, and later to Madrid; has resided 
mainly in France and Italy since, and has a studio in Venice. 

One of his pictures, "Domino Kose" is now owned in France, and the 
portrait of his mother is in the Luxembourg. "Light nights in Norway" 
and "Mystery of the night" are characteristic paintings. 

In 1898 he painted the portrait of Sarah Bernhardt as "Lorenzaccio" 
and the "Vision of St. Paul at Lystra." Spain and Brittany have fur- 
nished many of the subjects he has used. 

Mr. Johnston was made a chevalier of the Legion of Honor in 1901. Is 
associate member of the Societe Nationale des Beaux Arts, Paris and 
International Society of Painters, Gravers, etc., London. 

JoNEis, Hugh Bo'La?ON, (P.) b. Baltimore, Md., October 20, 1848. 
Studied art in France. Received bronze medal at Paris Exposition 1889 ; 
bronze medal at Paris Exposition 1900; Webb prize Society American 
Artists 1902 ; Shaw fund prize 1902 ; gold medal at St. Louis Exposition 
1904. Is a member of the National Academy. Specialty, landscape. 

He visited Europe in 1876 and studied there four years, becoming a 
member of the artists' colony at Pont Aven in Brittany, and traveling 
in Spain, France, England, Italy and Morocco. 

Principal paintings are: 

"Brittany" "The road through the poplars" 

"October" "Summer in the Blue Ridge" 

"On Herring Run" "Spring" 



133 

Mr. Jones' paintings are in the Metropolitan Museum, New York; 
Peabody Institute Baltimore; Erie Art Club; Corcoran Gallery of Art, 
Washington; Shaw collection, Philadelphia Art Club. 

'"His work possesses sterling qualities of color and drawing, belongs 
to the naturalistic school and is widley known at home and abroad. 
(Nat. Cyc. Am. Biog.) 

JosEPHi, Isaac E., (Min. P.) b. New York City. Pupil of Art Students' 
League, New York; also of Leon Bonnat in Paris. First president of 
American Society of Minature Painters; member Royal Society of Min- 
iature Painters, London. Mr. Josephi is accredited with the conception 
of the American society. His ^'Portrait of a lady" shown at the first 
exhibition of the society was the subject of much controversy. Some 
miniaturists insisted that it was far too modern for their art!s limit- 
ations, while others insisted that their art had no limitations. 

Keith, William. (P., I.) b. Aberdeen, Scotland, 1839; d. Berkeley, 
California, March, 1911. When a lad he came to this country with his 
parents. Began his career in New York as a wood engraver; afterward 
worked for Harper. 

In 1859 Mr. Keith went to California and began his out of doors 
painting; sketched in black and white and also did water color work. 
In 1869 he went to Diisseldorf, then to Spain. 

He was employed by the Northern Pacific Railroad Company to paint 
some of the characteristic scenes along its route. "Some of his redw^ood 
pictures are very beautiful, giving vivid impressions of the magnificent 
scenery of California, but pastoral scenes with distant mountains are 
his characteristic subject, and these he has rendered under many varying 
conditions of light and atmosphere." (Nat. Cyc. Am. Biog.) 

"He delighted in rich strong color and in dramatic aspects of nature. 
His paintings are toneful, poetical and decorative." (Art & P. 2:227.) 

Keith's paintings "deal with emotions aroused or suggested by land- 
scape under certain conditions of light and atmosphere." (Int. studio 
33:36.) 

His paintings are included in the permanent collections of the Chicago 
Art Institute, the Brooklyn Institute, the Corcoran Gallery of Art and 
the National Gallery of Art, Washington, as well as in many private 
collections. 

When George Inness visited California in 1890 he made William 
Keith's studio his headquarters. 

Keller, Arthur L, (L) b. New York, July 4, 1866. Pupil of National 
Academy of Design under Wilmarth and Ward, Loefftz in Munich. Has 



134 

won many prizes for drawings, water color, illustration and painting 
and is a member of leading art clubs. 

Of his illustrations shown at the last annual exhibition of the Society 
of Illustrators, The International studio for December, 1912, says : 
"They are so ably executed, so full of technical brilliancy, of learning 
in the value of accent and contrast, in the animating powder of spirited 
brushwork, that one wonders if he might not make dancing compositions 
without the introduction of solid figures. He has a sense of color, that 
intuitive feeling for value that is essentially a painter quality." 



Among his best works are : 



"At Mass" 

"Lead, kindlv lioht" 



"The sisters" 

"The finishing touches' 



Popular books that he has illustrated : 



"The first American George 

Washington" 
"A poor man" 

"Autobiography of a quack" 
"The Virginian" 
"The right of way" 



"Hanging of the crane," Long- 
fellow 

"Legend of Sleepy Hollow," 
Irving 

Bret Hart's stories 



Kelly, James Edward, (S., I.) b. New York, July 30, 1855. His first 
pictures were historical compositions and from his earliest childhood 
he studied everything he could find touching upon American histroy. In 
1871 he was apprenticed to a wood engraver and studied in the Academy 
of Design. Also studied with Theodore Robinson and Carl Hirschberg. 
He assisted in organizing the Art Sttidents' League. Entered the art 
department of Harper & Brothers in 1873 and opened a studio with 
Edwin A. Abbey where they began illustrating for magazines. His first 
statuette w^as of "Sheridan's ride." 

Mr. Kelly was chosen to model the five bas-reliefs around the base of 
the Monmouth monument The subjects selected were: 

"The council of war at Hopewell" 

"Washington rallying his troops" 

"Ramsey defending his guns" 

"Molly Pitcher" 

"Wayne's charge" 

Other well known works are: 

"Arnold wounded in the trenches;" "Schuyler giving his plans to 
Gates before the Battle of Saratoga," for the Saratoga monument; 



135 

statue of General Grant at Done! son, for which the general posed; statue- 
of "Call to arms," for the Troy monument; statue of ''General Buford 
at Gettj'sburg ;" ''Knowlton at Harlem Heights," at Columbia College 
for the Sons of the Revolution. 

His later works are an equestrian stattie of General Sherman; Col. 
Roosevelt at San Juan Hill, and the Fitz-John Porter monument for 
which General Porter selected Mr. Kelly to be the sculptor. (Nat. Cyc. 
Am. Biog.) 

Keimblb, Edward Windsor, (I.) b. Sacramento, CaL, Jan. 18, 1861. 
Educated in the public schools of New York. Self-taught in art. 

Since 1881 has been connected with various magazines and weekly 
periodicals as illustrator and cartoonist; specialty, negro characters. 
Has illustrated many notable books, such as Mark Twain's "Huckleberry 
Finn," and "Puddin' Head Wilson"; Stowe's "Uncle Tom's Cabin." He 
is author of books entitled "Rosemary," "Virginia Creeper," "Kemble's 
Coons," "Kemble's Pickaninnies," "Billy-goat" and other comicalities. 

He has exhibited in New York, Philadelphia, Chicago, St. Louis and 
other cities in the United States. 

Keimeys, Edward^ (S.) b. Savannah, Ga., January 31, 1843; d. George- 
town Heights, Washington, D. C, May 11, 1907. Received his education 
in the schools of New York City. Upon leaving school he entered mercan- 
tile business which he gave up for federal service during the civil war; 
and it was not until after the close of the war and he was employed in 
the civil engineering corps of Central Park, New York, that he made his 
debut as a sculptor. His specialty is Indians and wild animals of 
America. 

In 1878 he exhibited in the Paris salon his now famous group "Bison 
and wolves." Returning to New York he produced "Still hunt," "Wolves," 
"Panther and deer," and "Raven and coyote." 

In 1892 he went to Chicago, executing there a number of large groups 
for the Columbian Exposition. Also modeled the large bronze lions in 
front of the Chicago Art Institute building. 

Julian Hawthorne in 1884 in writing of Mr. Kemeys' art said that we 
find "not merely nor chiefly the accurate representation of the animal's 
external aspect, but what is vastly more difficult to seize and portray — 
the essential animal character or temperament which controls and actu- 
ates the animal's movement and behavior Here is an artist who 

understands how to translate pose into meaning, and action into utter- 
ance, and to select those poses and actions which convey the broadest 
and most comprehensive idea of the subject's prevailing truth.' ("Amer- 
ican wild animals in art." Century 6:214.) 



136 

Kendall, Margaret Stickneiy (Mrs. William Sergeant Kendall), (Min. 
P.) b. Staten Island, N. Y., November 29, 1871. Pupil of J. Alden Weir, 
Julius Rolshoven and William Sergeant Kendall. 

Received bronze medal at St. Louis Exposition, 1904. Member of tbe 
American Society of Miniature Painters. 

Keindall, WiLLLiM Sergeant, (P.) b. Spuyten Duyvil, N. Y., January 
20, 1869. At the age of fourteen lie was painting and modeling with. 
Thomas Eakins in Philadelphia ; from seventeen to ninetfeen he worked in 
the Art Students' League, New York, then went to Paris where he 
studied with Luc-Olivier Merson and later at the Ecole des Beaux Arts. 

At twenity-one he exhibited in the salon and the next year, 1891, 
received honorable mention for his ''Penitents." This picture has ob- 
tained for him several medals and prizes; other paintings have brought 
him flattering recognition. ''Narcissa" won the Harris prize; ''Alison" 
won the Potter Palmer gold medal and |1,000. Is a member of the Society 
of American Artists; associate member of the National Academy of 
Design, New York, 1901; full member, 1905. 

Mr. Kendall has been called the "painter of children." His own 
charming children are his models. In his mother and child subjects, he 
shows the tender joy of motherly love. 

Other favorite pictures are: 

^'A fairy tale" "The end of day" 

^'Beatrice" "The seer" 

"Three portraits" "The critic" 

"An interlude" "The green gnome" 
"L' Allegro" and "II Penseroso" 

"Mr. Kendall is that somewhat rare type of artist, a classical intimist. 
His vision is eminently classic. All his forms are generalized from re- 
peated observation . Kendall is not afraid of putting into a pic- 
ture a good deal that the memory contributes to the eye; he is, one might 
say, anti-impressionistic." (Arts and D. 1:16.) 

"With ideals unimpared, Kendall finds himself today the master of a 
self -evolved technique eminently congenial to their interpretation." 
(Harper 117:568.) 

"He is a skilful technician Surfaces in his paintings are ex- 
quisitely rendered." 

Kinney, Margaret West^ (I.) (Mrs. Troy Kinney) b. Peoria, IlL 
Pupil of Art Students' League of New York; Julien Academy in Paris 
under Robert-Fleury, Collin, Merson and Lefebvre. Has illustrated 
many books. 



137 

KiNNET, Troy^ (I.) b. Kansas City, Mo. Pupil of New York School of 
Art. Member of Yale Club of New Y'ork. Has illustrated "The white 
Christ" and in collaboration with Margaret W. Kinney "A ladder of 
swords/' ''The ward of King Canute/' '"Barlash of the guard" and other 
books. 

Kirk, Maria Louise, (P., I.) b. Philadelphia, Pa., daughter of George 
H. and Harriet (Craig) Kirk; studied at Philadelphia School of Design, 
and Pennsylvania Academy of the Fine Arts, Philadelphia Art Club. 
Received Mavj Smith prize at the Pennsylvania Academy of the Fine 
Arts 1894. 

Ts illustrator of ''xllice in Wonderland," and other children's books; 
also a portrait painter. 

Favorite pictures: 

^'Jack and Jill" .''Little Miss Muffett" 

''Little Bo Peep" "Mistress Mary" 

''Little Boy Blue" "Queen of hearts" 

'Little Jack Horner" "This little pig" 



a 



Knight, Daniel Ridgway, (P.) b. Philadelphia, Pa., 1850; of Quaker 
parents. Few men who have won distinction with the palette and brush 
have started under less favorable auspices; a ban was placed under the 
j>arental roof on pictures and music. His grandfather w^as convinced of 
his artistic talent, and through his influence Ridgway was permitted to 
enter the classes of the Pennsylvania Academy of the Fine Arts. Later, 
with parental sanction and support, he was settled in Paris. He studiea 
in the atelier Gleyre, then spent three years at the Ecole des Beaux Arts; 
later studied at the British Academy, Rome; returned to the United 
States and took a studio in Philadelphia for a time painting portraits 
and genre pictures and teaching. 

In 1871 went to Paris and in 1873 with his family moved to Poissy 
where he met Meissonier. This acquaintance ripened into warm friend- 
ship, and Mr. Knight ever afterward acknowledged the great French 
painter as his master. 

He received honorable mention at the Paris salon of 1884; third-class 
gold medal, Paris salon, 1888 ; was honored with the Cross of the Legion 
of Honor, France, 1889, and with the Cross of Saint Michael of Bavaria, 
1892. 

To the salon of 1873 he sent "The fugitives" and to the salon of 1875, 
"Washenv^omen." 

"The Shepherdess of Rolleboise," "A summer evening," "On the ter- 
race," ''The gardener's daughter," "July morning," "Quietude," and 



138 

''Curiosity," are all salon pictures, and give a fair idea of the character 
of his work. 

"Those familiar with Knight's paintings will recognize in them a sort 
of family resemblance, due to likeness of models and similarity of land- 
scape backgrounds." 

He is for the most part the painter of a single class of models — 
demure little peasant girls Avith their wooden shoes and picturesque cos- 
tumes. 

''He glories in the fact that he is a painter of popular pictur-es, 

in which happy conceptions successfully worked out meet public approval 
and command public patronage." (Brush & P. 7:193.) 

Knox, Susan Eicker^ (P.) b., Portsmouth, N. H. She received her art 
training in the art schools of Philadelphia and New York; also studied 
in Europe; is a member of several art societies and her paintings have 
been exhibited in the larger cities of the United States. 

Miss Knox is known as a painter of portraits and especialh^ th^ por- 
traits of children. 

"In the painting of hair, Miss Knox is particularly happy Miss 

Knox has been at work for a number of j^ears on a series of canvases 
depicting some special phase of motherhood w^here the spiritual relation 

is expressed as well as the physical "The usurper" is a charming 

example of Miss Knox's art. (Int. studio 49:lxxvii.) 

KoNTi, Isidore^ (S.) b. Vienna, Austria, July 2, 1862, of Hungarian 
parents. Entered the Imperial Academy at the age of sixteen ; won 
several scholarships and finished his studies at Meisterschule of Prof. 
Karl Kundmann, Vienna. After two years in Rome he returned to 
Vienna and executed numerous works, including a marble bust of 
Emperor Francis Joseph. Came to the United States in 1890. 

Associate member of the National Academy in 1906 ; full member in 
1909. Vice-president of the National Sculpture Society; one of the 
directors of the Architectural League and a member of the leading art 
societies of the United States. 

Decorative monumental and ideal work is his specialty. 

Among the more important works which Mr. Konti has executed is 
"The despotic age," a monumental marble group in the Metropolitan 
Museum, N. Y. Another beautiful work, the "Edward Beale and Kit 
Carson" moniunent, is now in the National Museum in Washington, D. 
C. The McKinley monument in Philadelphia was executed in collabor- 
ation with the late Charles Lopezi (Int. studio 45:197.) 

Aoiong Mr. Konti's ideal works may be mentioned the figures "In- 
spiration" and "Orpheus," the groups "Pan and Cupid," "Awakening of 
Spring," and a fountain symbolizing "The brook." 



139 

^^Mr. Konti is always refined, but this coy figure ("The brook") is a 
veritable embodiment of sinuous grace." (Taft.) 

His "Mother and Child" has been purchased by the mayor of Boston 
for Fenway Garden, on the recommendation of the Boston art commis- 
sion and the Metropolitan Improvement Association. 

KooPMAN, Augustus, (P.) Born Charlotte, North Carolina in 1869; 
died Etaples, France, January 30, 1914. He studied art in Pennsylvania 
Academy of the Fine Arts, Philadelphia ; later in Paris at the Ecole des 
Beaux Arts, also under Bouguereau and Robert Fleury. 

Mr. Koopman belonged to the American colony of artists in France, 
wintering in Paris and spending the spring and summer at Etaples. He 
was elected an associe of the Societe Rationale des Beaux Arts in 1912. 

In 1913 he had a successful exhibition in the United States, and while 
here painted in the Grand Canyon, Arizona. 

"In much of his early work his color and composition had many of 
the qualities characteristic of the modern Dutch artists." Some of his 
later pictures gained a unique popularity for their impressionism. 

Koopman loved the sea but he was not essentially a marine painter 
for he rarely painted it except as seen from the shore. His pictures 
that he valued highest were figure subjects — his own children being his 
models. 

A few of his paintings are known as : 

"Launching the boat" "The parting word" 

"With mi^ht and main" "Winter" 

"After the storm" "Hoisting sails" 

(Int. studio 52:215.) 

KosT, Frederick W., (P.) b. New York, May 15, 1861. Pupil National 
Academy of Design. Received honorable mention at Paris Exposition, 
1900; bronze medal at Pan-American Exposition, Buffalo, 1901; silver 
medal at St. Louis Exposition, 1901. Associate member of National 
Academy, 1900 ; full member in 1906. Member Society Landscape Paint- 
ers, Brooklyn, N. Y. 

Specialty, landscapes and marines. 

Ladd, Anna Coleman (Mrs. Maynard Ladd), (S.) Received her art 
education in Europe. She fii^t exhibited in Boston, Philadelphia and 
New York in 1907. Since then her work has been included in every 
American exhibit of sculpture. 

Mrs. Ladd prefers imaginative subjects but she has modeled a number 
of successful portrait-busts and reliefs. 



140 

''The American," which first attracted thoughtful artists stands for the 
universal human qualities of strength, determination and moral force. 
"Keast of prey" portrays the low earthside of man. "Pan" and ''Yoiith" 
personify the American spirit of the woods. ''The sundial" and "Bird 
fountain" stand in an Italian garden in Manchester-by-the-sea. 

"Her work has not only originality but strength and unusual signifi- 
cance. While it stirs the emotions it also provokes thought." (Anna 
Seaton-Schmidt in Art & P., July, 1911.) 

Among Mrs. Ladd's later works is a bronze portrait-bust of Eleanor 
Duse. The famous Italian actress is also the ow^ner of the "Wind and 
spray" fountain. 

Her group "The rock and the flower" is to be placed in the Fine Arts 
building at the Panama-Pacific Exposition with a collection of her mar- 
bles and bronzes. 

La Faroe, John, (P., Mural and Stained glass designer) b. New York, 
March 13, 1835; d. Providence, R. L, November 14, 1910. His boyhood 
was spent in Newport, R. I., where his environment was such as to 
foster and develop his strong sense of color. From his earliest youth 
flowers were his intimate and loving companians, and from them he 
learned the secret of delicate gradation and harmony of color. At the 
age of twenty-one he went to Paris and entered the studio of Couture. 

Mr. LaFarge's work is so varied in subject, in feeling, in scale, it is 
executed in so many difl'erent mediums (he worked in oil, in water-color 
and on wood; was a mural decorator, a painter in stained glass and a- 
sculptor) that generalization is impossible. 

A member of the National Academy of Design since 1869. 

He received the honorary degree M. A. Yale, 1896 ; L. L. D. Yale, 1901 ; 
Princeton, 1904. He was an art critic and lecturer, as well as the most 
learned painter of our times. From the mystics of early China to those 
of Barbizon, the history of painting was an open book to him. It was 
one of his strongest convictions that color symboliz/es character and can 
be made to express the hidden meaning of things. 

In his purely imaginative works in oil, he drew from the realm of fairy- 
land and witchcraft for subjects : "The pied piper of Hamelin," "The 
wolf charmer," "The sorceress/' "The fishermen and the genii," "The 
siren's song." 

At a London exhibition one of his landscapes was hung between a 
Rousseau and a Delacroix, and the French government bestowed the 
insigna of the Legion of Honor upon him when he exhibited the Watson 
memorial window at the Paris Exposition in 1889. 

A triumph in mural decoration are his four paintings in the Supreme 
Court room in the Minnesota state house; and his "Ascension" in the 




JOHN LA FAROE. 



142 

Church of the Ascension, New York, is one of the most beautiful things 
done in modem religious mural painting. 

It was his color again that proclaimed his authority in glass, and 
recalls the richness and splendor of the old masters. He invented the 
^'opaline glass" and his new method for making stained glass windows 
changed the entire art of glass stainer. His masterpiece in glass work 
is the famous Peacock window now preserved in the Art Museum at 
Worcester, Mass. 

^'A great colorist who expressed in the language of color all the 
emotion of the human soul. He has placed an indelible mark upon 
American art." (Jarves "Art idea.") 

"With his mastery of color he created new forms of devotional beauty 
unsurpassed since the renaissance." (Art and P. 3:379.) 

"He had probably the most complex nature in our artistic history, and 
indeed he had in this respect no parallel among the masters of his time 
abroad." (Cortissoz.) 

Lamb, Oiarles Rollinson^ (Stained-glass designer) b. New York. 
Studied art at the Art Students' League of New York. Specialty: re- 
ligious and municipal art. 

The artistic decoration of the Sage Memorial Chapel at Cornell Uni- 
versity, was designed by Mr. Lamb. The lower wall surface in mosaic — 
a processional — expresses the idea of education; the center subject is 
that of life and character, and the ceiling that of religion. 

The paintings and studies of detail in the processional were made by 
his wife, Ella Condie Lamb, and the mural paintings on the ceiling in 
the groined arches, by his brother, Frederick Stymatz Lamb. 

In describing this work, the Outlook TO :571 says : "This mosaic is one 
of the most important in size and character of anything executed in the 
Ignited States. It ranks with the work of William R. Richmond, of the 
Royal Academy, in St. Paul's Cathedral, London, the great processional 
by Charles Lehmair in the Madeleine Church, Paris, the panels of the 
new facade of the Cathedral in Florence, or what has been wrought by 
the late Sir Edward Burne- Jones in the American Church at Rome." 

Mr. Charles Rollinson Lamb has unusual quality as an artist-decorator. 
"He sees things 'in the whole,' with rare judgment and art feeling." 
(Craftsman 13:420.) 

Lamb, Ella Condiei (Mrs. Charles R. Lamb), (Mural P., S., I.) b. New 
York. Pupil of William M. Chase, C. Y. Turner, Walter Shirlaw in New 
York, Courtois and Collin in Paris, and Herkomer in England; has re- 
ceived many prizes and medals for her work shown at various exhibitions 
in this country. 

Mrs. Lamb specializes in decorative designs for public edifices. Among 



143 

her works are "The Advent angel," "The Christ child," for the Conrad 
memorial (in mosaic), St. Mary's church, Wayne, Pa., and "The Arts" 
and "The Sciences' for the memorial chapel at Cornell University in col- 
laboration with her hnbsand, Mr. Charles Rollinson Lamb, who designed 
the elaborate interior decoration of this marvelous art tribute to Henry 
W. Sage and wife. 

Lamb, Freodekick Stymatz, (Mural and stained-glass designer) b. New 
York, June 24, 1863. Pupil of Art Students' League of New York; also 
studied under Lefebvre and Boulanger in Paris. Specialty : stained glass. 

Received honorable mention at the Columbian Exposition, Chicago, 
1893; medal from the French government for window at Paris Expo- 
sition 1900, and was one of the four glass workers invited to represent 
the United States at that exposition. 

He has received commissions for important mural decorations, among 
them a large canvas for the Bethlehem Presbyterian Church, Philadel- 
phia, Pa.; work for the Bethesda Church, Saratoga, New York, and St. 
Peter's Church, New York. Designed the window in Emerson Memorial 
Chapel, Titusville, Pa. — "Friendship" (David and Jonathan). "Religion" 
is an especially fine window in the Jones Memorial Library. Lynchburg, 
Va. ; as is also "Gloria in excelsis" his mural painting in the Sage 
Memorial Chapel at Cornell University. 

His most important recent design is a series of eight windows in the 
old Plymouth Church, Brooklyn, N. Y. : 

"Hampden and Pym appealing for the Bill of Rights before Charles I" 
"Milton writing the plea for the liberty of the press" 
"John Robinson's prayer on the Speedwell — Departure of the Pilgrims 
from Del f shaven" 

"The signing of the Compact on board the Mayflower" 

"The landing of the Pilgrims" 

"Founding Harvard College" 

"George Eliot preaching to the Indians" 

"Cromwell announcing to George Fox personal liberty of worship." 

Besides these, are three other windows, showing in the central one, 
Abraham Lincoln as president; on one side, Henry Wiard Beecher 
speaking on the platform of Exeter Hall, London, in favor of the anti- 
slavery bill, on the other, Harriet Beecher Stowe in a group of women 
prominent in the movement for the higher education of women. This 
work is gorgeous in color and beautifully harmonizes with the architec- 
ture and decorative scheme of the church. 

"There is a human quality in the art of this artist and even where the 



144 

utmost conventionality of form has to be respected, there is a story with 
picturesque surroundings." (Craftsman 13:420.) 

Lathrop, Fhancis^ (Mural P.) b. at sea near the HaAvaiian Islands^ 
June 22, 1849; d. Woodcliffe Lake, N. Y., October 18, 1909. 

In 1862 he went to Dresden, Germany, and studied painting at the 
Eoyal Academy of Fine Arts; afterwards studied in London with Ford 
Madox-Brown and Sir Edward Burne-Jones and acted as assistant to 
E. Spencer Stanhope and William Morris, devoting special attention to 
stained glass work. After 1873 was engaged in portrait and decorative 
painting. 

Among his chief decorative works are the mural paintings entitled : 
"The Light of the world" over the altar of St. Bartholomew's Churchy 
"Apollo" over the proscenium of the Metropolitan opera house, New 
York; "Moses with the tablets of the Lord" a wall-painting in the 
BoAvdoin chapel, Brunswick, Me. 

For the Marquand memorial window in Princeton college chapel, he 
received a gold medal in 1889. 

Mr. Lathrop executed many mural paintings and much stained glass 
work for numerous churches and residences in New York, Albany, Bos- 
ton, Baltimore and other cities. 

A member of the National Academy of Design, 1906 ; also a member of 
the leading art societies and clubs. 

Laubeh, Joseph^ (P. S., E., Mural P. and stained glass designer) b. 
Westphalia, Germany, August 81, 1856. Pupil of Walter Shirlaw and 
WMlliam M. Chase, in painting. He assisted John LaFarge in sculptural 
decorations of (Cornelius iVanderbi It's residence, 1882; executed a number 
of etchings, 1887-94, and has painted a conception of the Christ which 
has been widely noticed. 

Among his best-known mural painting and stained glass work are : 

"Redemption" windoAV, Westminster Presbyterian church, Bloomfield^ 
N. J. 

"The pilgrimage of life," First Congregational church, Montclair, N. J. 

"Christ's admonition to Thomas" window. Church of the Ascension^ 
New York. 

"Christ before the doctors," Lutheran Church, New York. 

"Christ as the True Vine" window. Church of Transfiguration, New 
York. 

"The Spirit of Grace and the Spirit Triumphant" window, Trinity 
Church, Lancaster, Pa. 

"Hope," Presbyterian Church, Lafayette avenue, Brooklyn, N. Y. 

"St. Agnes," St. Andrew's Methodist Episcopal Church, West 76th St., 
New York. 



145 

^'Te Deuni" window, St. Paul's church, Richmond, Va. 

'^4doration'' (painting) over the alter, Trinity Church, Ossining, N. Y. 

^'Virtues of the upright judiciary," panels in court room, appellate 
court building, New York. 

"Psyche at the spring" window in the library of J. P. Morgan. 

''Greek dance" mural painting in the library of Whitelaw Reid, New 
York. 

Leigh, William Robinson^ (P., I,) b. Berkeley county, W. Va., Sep- 
tember 23, 1866. He studied art at the Maryland Institute, Baltimore, 
and in Munich. His paintings received honorable mention in the Paris 
salon of 1892 and silver and bronze medals from the Munich Academy. 

Mr. Leigh depicts scenes of ranch life in the west and desert episodes. 
A reproduction in colors of "Poisoned pool" appeared in the American 
magazine, March, 1913, and without seeing the original, the directors 
of the Munich galleries cabled their agent in the United States to secure 
it for their exhibition. As a representative of the western type of art 
for the Anglo-American exhibition at London last year, "The stampede" 
was selected by Mr. Hugo Reisinger. "The Great Spirit" also attracted 
much interest at last summer exhibitions. 

Other notable scenes of western life are: 



"An argument with the sheriff" "Sacred Mountain of Zuni 

"Sunset over the Badlands" "The old story" 

"Roping" 



5? 



Mr. Leigh's canvases give an impression of immense space and possess 
a deep feeling for the finer romance of nature." 

"His work is almost invariably compared or contrasted, as may be the 
conviction of the critic, with that of Frederick Remington." (Cur. op. 
57:269.) 

Lb Roy, Anita, (P., L). Studied at the Pennsylvania Academy of 
the Fine Arts, Philadelphia, and under Whistler in Paris. Has ex- 
hibited in the large cities of the United States. Member of the Plastic 
Club, Philadelphia. 

A few popular paintings are: 

"Dutch canal and boat" "Dutch woman sweeping snow" 

"Dutch children" "Dutch fisherman" 

Leutze, Emanuel, (P.) b. Emingen, near Reuthingen, in Wurtemberg, 
Bavaria, May 24, 1816; d. Washington, D. C, July 18, 1868. When a 
19 



146 

child came to Philadelphia with his parents. By the sale of numerous 
drawings, he realized enough money to csirrj him to Europe in 1841. 
He went to Diisseldorf and entered the academy there, and as a pupil of 
Lessing soon acquired a name in historical art — a branch to which all 
his tastes and talent inclined. Elected a member of the National Academy 
of Design, New York, in 1860. 

In 1860 he received a commission from Congress to decorate a stair- 
way in the National capitol building, and painted the ''Star of empire.^' 
^'This painting stands quite alone in this country as an example of 
German decorative work." (Isham.) 

He painted a long series of historical compositions, many of American 
subjects. 

Among his most dramatic and elaborate pictures which have won pop- 
ular favor are : 

^'Washington crossing the Dela- ^'Knox and Mary Stuart" 

ware" "First mass of Mary Stuart in 

''The settlement of Maryland" Scotland" 

"An Indian contemplating the "Landing of the Norsemen" 

setting sun" "Columbus before the queen" 

"The flight of the Puritans" "CroniAvell and his daughter" 

"Henry VIII and Anne Boleyn" 

Among his portraits of eminent men, that of General Grant is a fine 
example. 

"In all his Avorks. Leutze shows himself a typical Diisseldorfian, with 
the enthusiasm and admirations of the German romantic period^ ex- 
pressed in a smooth, dull technique." 

He represents the culmination of a certain type of historical painting 
in America^ — that besides the story told, the picture shall have a moral 
significance. 

Leutze resembles Carlyle^ — both teach hero worship. (Tuckennan.) 

Lewis, Edmonia^ (S.) b. in the State of New York. Descended from 
both Indian and African ancestors. Comparatively untaught, she dis- 
played a natural genius for sculpture and in 1865 exhibited in Boston a 
portrait-bust of Colonel Shaw which attracted much attention. In 1867 
she exhibited a statue called "The freed-woman." Soon after she went 
to Rome where she has since resided. She sent to the Centennial Exhi- 
bition in 187'6 the "Death of Cleopatra" in marble. Her "Old arrow- 
maker and his daughter," "Asleep," and terra-cotta busts of Sumner, 
Longfellow, John Brown and others are well known to visitors of her 
studio in Rome. The Marquis of Bute bought her "Madonna with the 
Infant Christ," an altarpiece. Her groups illustrating Longfellow's 



147 

poem of "Hiawatha-' are charming bits, poetic, simple and natural and 
"no happier illustrations of Longfellow's most original poem, were ever 
made than these by the Indian sculptor." (Revolution, April, 1871.) 

Lie, Jonas, (P.) b. Norway, April 29, 1880, comes from a family noted 
for genius in one form or another. 

When twelve years of age his father died and after spending a year 
with his famous uncle in Paris, he came to America to join his mother 
who was an American and he has resided here ever since. 

He attended evening classes of the Academy of Design and also did 
hard work in the night school of the Art Students' League. While still 
a student at the academy he sent a canvas, "The gray day" to the jury. 
The picture was accepted and well hung. Three years later he sent a 
painting to the exhibition of the Pennsylvania Academy and it was not 
only accepted but purchased by William M. Chase. He was awarded a 
silver medal at the St. Louis ELsposition for his "Mill race," and is now 
represented in many of the best private and public galleries in America. 

Winter subjects appeal to him more than ony others. 

"He likes best to paint a snow-covered hillside Avith a gray leaden sky 

There is a force about his work, a mastery of composition which 

goes far to atone for an occasional artificiality of expression or crudity 

of coloring He likes nature in motion he likes the whirl 

of wind and storm through his pictures Jonas Lie has found out 

the secret of his art which sends a gale across canvas from frame to 
frame." (Craftsman 13:135.) 

This painter knows how to handle bridges. 

Int. studio 53 :lv in commenting on American art in recent exhibition 
at Shepherd's Bush, says: "Jonas Lie gives a glorious rendering of 
New York's skyscrapers after dark. It comes near to justifying the 
claims of the artist's friends. It is majestic and highly romantic. Look 
at the original at 6 o'clock on a winter evening from the North river 
and 3'OU will see like majesty in a line that no other part of the world 
<'an compete in." 

LiNDEE, Heinry^ (S.) b. Brooklyn, N. Y., September 26, 1854; d Brook- 
lyn, N. Y., February 7, 1910. At fifteen he was apprenticed to a marble 
firm, and when seventeen went with his mother to Germany. He studied 
art with Adam Bock of Lauterecken, then went to Munich and studied 
three years with Prof. Knabel, director of the Munich Academy. A 
year's study in Rome followed; he returned to New York in 1878. A 
member of the National Sculpture Society, National Society of Crafts- 
men and of the Albrecht Durer Verein. 

Mr. Linder was eminently successful in child figures. A memorial 



148 

exhibitioD of his works was held at the American Fine Arts Building 
under the auspices of the National Sculpture Society in April, 1910. 

Little, J. Wesley^ (P.) b. Forkville, Pa., August 24, 1867. Studied 
art at the National Academy of Design, New York and with Leonard 
Ochtman ; also studied in Europe in 1899 and in 1905. Is a member of the 
Washington Water Color Club, Philadelphia Sketch Club, Philadelphia 
Water .Color Club and Chicago Water Color Club. Specialty, land- 
scapes. 

Some of his best known pictures are : 

^^A Dartmoor border" '^Green and gold" 

^'Westman's wood" ^Tarting day" 

"A Devonshire lane" ^'Under autumn skies" 

"Late pasture" "Threshold of night" 

"Breakfast" 

LoEB, Louis^ (P., I., E.) b. Cleveland, O., November 7, 1866; d. Canter- 
bury, N. H., July 12, 1909. An illustrator, etcher and figure painter. 
Studied under Gerome in Paris. Exhibited in the Paris salon of 1895, 
and received honorable mention; also third medal in 1897, Hallgarten 
prize of the National Academy of Design, 1902, and Webb prize of the 
Society of American Artists, 1903. Was elected associate member of 
the National Academy of Design, in 1901; full member in 1906. 

In his "Temple of the winds, sunset" a work of distinction, the drawing 
is full of spirit, and the pure coloring and sense of air and sunset light 
are very fascinating. "The breeze" was more of a success, and "Morning" 
won the Car-negie prize in 1905. 

Other pictures are: 

"The siren" "Blossoming" 

"The gilt shawl" 

He painted symbolical pictures in which the landscape plays a great 
part. 

Longman, Evelyn Beatrice, (S.) b. Winchester, O., November 31, 
1874. To lighten her father's burden of caring for a large family she 
found employment — at the age of fourteen — in a large wholesale house 
in Chicago and at the same time attended night school at the Art Insti- 
tute. Six years later she w^ent with her savings to Olivet College, Mich- 
igan, then returned to Chicago after a year and a half to become a pupil 
of Lorado Taft. Miss Longman became a teacher and took charge of 



149 

the summer school of modeling. Going to New York she worked with 
Hermon A. MacNeil and Isidor Konti, and later became a valued assist- 
ant in the studio of Daniel Chester French. 

Her first piece of importance was a "Victory" which she was chosen to 
execute for the St. Louis Exposition. Contrary to tradition she designed 
"Victory" as a male figure, and it proved her victory in actual fact; it 
won for her a silver medal. 

The bust of Kate Parsenow, the German actress (called by the sculptor 
"Aenigma"), has generally been accepted as one of Miss Longman's 
masterpieces of character study. 

She has made two remarkable pairs of bronze doors : one for the 
entrance chapel of the U. S. Naval Academj^ at Annapolis; the other for 
the library building at Wellesley College. 

Jonathan A. Rawson, Jr., says (Int. studio 45:ciii) : "Mr. French with 
just pride in the renown that has come to his former pupil is fond of 
saying that Miss Longman is the last word in ornament." 

"Miss Longman's art is noticeable for its refinement and strength, 
characteristics infrequently found together." 

A member of the National Sculpture Society, the American Numis- 
matic Society and the American Federation of Arts ; associate member 
of the National Academy of Design, 1909. 

In writing of the winter exhibition of the National Academy of Design, 
a well known art critic says : "Evelyn Beatrice Longman's contributions 
were many and dignified ; they showed an individual appreciation of 
classicism which drove them above servility, the classicist's danger." 

Miss Longman recently won in competition the |50,000 commission for 
the design for the monument to the late Senator Allison of Iowa, and 
she has just completed her marble two-figure group "L' Amour" to be 
exhibited at the San Francisco Exhibition next summer. 

An art critic says of the group : "The piece is worthy successor 
in purity and beauty of that early American sculpture. Power's 'Greek 
slave.' " 

LoNGPRE, Paul db, (P.) b. Lyons, France, April 18, 1855; d. Holly- 
wood, Los Angeles, California, June 29, 1911. 

At twelve years of age he was in Paris painting flowers on fans, and 
at twenty-one his first oil painting was accepted at the salon. He came 
to the United States in 1890 and in 1896 gave his first exhibition in New 
York which consisted entirely of floral subjects. Three acres of flowers 
surround his home in Hollywood. His father and two brothers were also 
painters. Although Mr. DeLongpre's proper title was ferquis Paul 
Mancherat de Longpre, closely related to the ducal houses of De Luynes 
and De Chevreuse and descendant of the celebrated statesman, the Mar- 
quis de Mesmer, he desired to be known as a plain American citizen. 



150 

Lopez, Chakles Albert^ (S.) b. Metamora, Mexico, October 19, 1869; 
d. New York, May 18, 1906. Came to Ncav York when a youth. Studied 
in the studio of J. Q. A. Ward in New York; later studied with Fal- 
guiere and at the Ecole des Beaux Arts, Paris. 

He received first prize in a sun dial competition; first prize in a flag 
staff competition in New York, and first prize for the McKinley monu- 
ment at Fairmount Park, Philadelphia. He was a member of Society 
of American Artists ; associate member of National Academy in 1906. 

Mr. Lopez had just completed the working models for the McKinley 
memorial when he died from an operation. This work was done in 
collaboration with the sculptor, Isidore Konti. 

LoAV, Will Hicok^ (P., I., Mural P., Stained-glass designer) b. Al- 
bany, N. Y., May 13, 1853. Pupil of Ecole des Beaux Arts under Gerome 
and Carolus-Duran in Paris. His pictures in oil were exhibited in the 
Paris salon. In 1881 he became a teacher in the antique and life classes 
of the Woman's Art School of Cooper Union. Was elected a member of 
the National Academ^^ of' Design, 1890. His illustrations of Keats' 
poems were exhibited at the Paris Universal Exposition in 1889, and won 
a medal. 

Mr. Low acquired his first knowledge of stained glass from John 
LaFarge and has since furnished cartoons for stained glass windows 
for many churches and public edifices. He is also one of the best ex- 
ponents of the art of mural painting, his ceiling decorations of the ladies 
reception room in the Waldorf-Astoria hotel, New York, gracefully en- 
titled ^'Homage, to woman" being most noteworthy. 

His painting 'The maids of Cashmere" has for subject the Feast of 
Koses, a charming oriental fete which Moore has pictured in "Lalla 
Eookh." 

Mr. Low has also achieved success in literary pursuits. 

At a recent Chicago Art Exhibition Mr. Low made a thoroughly repre- 
sentative display of his work ; one hundred and forty drawings, sketches, 
cartoons and easel-pictures. Features of the display were the mon- 
ochrome illustrations for Keats' ^^Lamia" and 'The odes and sonnets," 
and the original studies for the celebrated decorations of the ball-room 
of the Waldorf-Astoria hotel in New York. 

Lucas, Albert Pike^ (P., S.) b. Jersey City, N. J. As a child he drew 
plants and animals and modeled in clay. He studied at the Ecole des 
Beaux Arts, Paris, under Hebert and Boulanger during the years 1882-8, 
and was also a pupil of Courtois and Dagnan-Bouveret:. Later he trav- 
el ed in Holland, Belgium and Italy, studying the representative masters 
of each country. Keturning to France he made that country his home 
for twenty years, exhibiting regularly in the Paris salon. He was made 



151 

a member of the Societe Naitionale des Beaux Artsi and liis well known 
painting "The call" held one of the places of honor. It was later 
awarded a medal at the Pan-American Exposition. 

His bronze bust, ''Sambo, a native of Alabama," was exhibited at the 
Paris Exposition, 1900; "Extaze," a beautifully chiselled head of a 
Avoman also in bronze, is in the Metropolitan Museum, New York City; 
"Laughing faun" is one of his recent sculptured works. 

"Golden madonna" is so called from the wonderful golden light. 
"Susette" is a charming delineation of childish character. "The red 
shawl," now in the Boston Museum of Fine Arts, was placed in the 
"honor circle" in the Paris salon a few years ago. 

"The marvel of all this artist's w^ork (painting) is his management 
of diffused light. There is ncA^er a sense of the light streaming on the 
canvas reflecting from wall or mirror; it comes out through the painting 

and radiates beyond it It is always the lyric note in Mr. Lucas' 

work, never the dramatic, the tragic, the morbid." (Craftsman 19:284.) 

"To a lover of lyric poetry, of fairy stories, of MacDowell music, the 
art of Albert Lucas will most strongly appeal." (Int. studio 54:xxiii.) 

LuKEMAN, (Henry) Augustus^ (S.) b. Richmond, Va., January 2^, 
1871. His parents took up their residence in New York City when he 
was a boy. He supplemented his art studies at the National Academy 
of Design with a course in anatomy at Bellevue Hospital. After this 
technical preparation he became a pupil and later an assistant of Daniel 
Chester French, doing some of the group work at the World's Columbian 
Exposition ; he also studied in Paris under Falguiere in the Ecole des 
Beaux Arts. Preparatory to his architectural collaboration he had a 
course in architecture. His earliest work in this line was two groups 
— "Peace" and "Power" — on the Memorial bridge at the Pan-American 
Exposition. This was followed by designs for the group "Music" and 
the figures "Speed," "Heat," "Light" and "Power" at the St. Louis 
Exposition. 

His architectural sculpture for buildings in Pittsburgh, Boston and 
NeAV York are well known. The statue of "Manu," the lawgiver of India, 
on the appellate court building. New York, is a remarkable conception 
and strikingly effective as an example of architectural sculpture. Mr. 
Lukeman is exceedingly versatile as a sculptor, doing equally w^ell por- 
trait busts, bas-reliefs, memorials and monuments. 

"Mr. Lukeman has practically mastered the sculptor's chief problem 
of distributing broad, simple masses in their true relation to the smaller 
and more decorative parts (Arch. rec. 35 :415.) 

LuKS, George Benjamin^ (P.) b. Williamsport, Pa., August 13, 1867. 
His father, a physician, was a clever draughtsman and his mother a 



152 

painter of talent. He studied art at the Pennsylvania Academy of the 
Fine Arts and in Diisseldorf, Paris and London. 

A radical worker in art, he has a disdain for art schools and conse- 
quently has little or no academic training. He is a natural draughtsman, 
however, and the charm of accuracy and poise distinguish his work. 
Most of his work has been of the city types. He finds his subjects in 
the debris of the human struggle. He is the painter of the East Side of 
New York. Luks sees artistic possibilities in the dock laborers — both 
man and animal. "The patient waiting horses, the gray overcast river 
and the straining movements of the men as they work are registered 
upon the canvas with astonishing rapidity and fidelity." (Craftsman 
12:599.) 

In 1907 the National Academy of Design refused at its annual exhi- 
bition to accept a canvas of Mr. Luks, notwithstanding Robert Henri 
made a spirited appeal for recognition of this artist's work. 

"With a grim and appalling psychologic power of a Gorky he paints 
creatures such as Higgins paints, but without Higgins' dramatic effects." 

"As a painter he uses his palette with a riotous disposition of tone 
...... He sees nature with warmth and vitality, and his work is full of 

light and shade." 

Mac Cameron, Robpirt Lee, (P.) b. Chicago, 111., January 14, 1866; d. 
New York City, December 29, 1912. His early boyhood was passed in 
the wild forests of AVisconsin where he played with Indian children and 
became an expert rifle shot. At fourteen years of age he worked in the 
log drive, earning a man's wages^ — 12.50 a day and board — and was able 
to save sufficient money to commence an art career, taking lessons in 
the Y. M. C. A. of Chicago. Going to New York he studied painting 
under William M. Chase. In 1888 he went to London where he found em- 
ployment on the staff of a x>aper called "Boys' own," published in the 
interests of youth. Later he continued his art studies at the Ecole des 
Beaux Arts in Paris under Gerome and Collin, also studied with Whistler. 
Received gold medals in the Paris salon of 1905 and his works have been 
hors concours since 1907. He was made a member of the National 
Academy of Design in 1910 and a chevalier of the Legion of Honor of 
France in 1912. 

Since 1908 when his picture which is popularly known at "The absinthe 
drinkers" was shown in the Paris salon, Mr. MacCameron has been ac- 
corded recognition as one of the most original artists of the day. 

"Not satisfied to be merely a clever painter, he aims at an interpreta- 
tion of abstract aesthetic qualities. He believes that art should be an 
interpretation of mental spiritual impressions." 

The recent presentation by J. P. Morgan to the Metropolitan Museum 
of New York of the painter's "August Rodin" speaks for the distinction 



153 

in which his work is held. He has painted portraits of many prominent 
persons. 

*^Les habitues" is owned by the Memorial Museum of Philadelphia. 

"The absinthe drinkers" was bought for the Corcoran Gallery of Art, 
Washington, D. C. 

"Daughter's return" is in the Whistler room of the Metropolitan 
Museum of Art, New York. 

A memorial exhibition of his paintings was held in New York on 
January 28, 1913. 

McCarter, Heinry^ (I.) b. Norristown, Pa., July 5, 1865. Began ex- 
pressing himself as an illustrator when a boy student at the Pennsyl- 
vania Academy of the Fine Arts. The Century and the Magazine of Art 
accepted his first work. Later he studied in Paris under Puvis de 
Chavannes and also came under the influence of Rixens, Bonnat and 
Alexander Harrison. 

The "Lourdes" of Zola was the beginning of his important book illus- 
trations; he also furnished notable drawings to illustrate the poems of 
Paul Verlaine. 

"Mr. McCarter seems essentially equipped for the pictorial interpreta- 
tion of poetry ; he has the most sentient appreciation of both delicacy and 
strength and a love of nature that is almost archaic. To these qualities 
he adds a psychology of beauty that is vividly real and through them all 
he gets the dramatic and forceful with still a persuasive grace and 
elusiveness." (Bkmn. 11:244.) 

"A colorist of exquisite clarity of tone, the value of which is apparent 
in his black and white medium." 

"He does not so much suggest a pronounced individuality as he con- 
veys a pervasive identity, a conscious medium of nature and life." 

His illustrations of Yerlaine's poems, notably "Claire de Lune" and 
^^Le piano" are veritable triumphs of suggestiveness in the sense that the 
French symbolist poets apply the word. Of special technical interest 
was also his "Easter hymn." 

MacDonald, James Alexander Wilson^ (S.) b. Steuben ville, Ohio, 
August 25, 1824 ; d. Yonkers, N. Y., August 14, 1908. 

A St. Louis publisher at the age of thirty devoted himself to art. He 
made the first portrait-bust cut in marble west of the Mississippi — that 
of Senator. James T. Benton of Missouri. After the civil war he came 
to New York and his bust of Charles O'Connor is in the appellate court; 
and that of James T. Brady is in the law library, while his bronze statue 
of Fitz-Greene Halleck is in Central Park and his Washington Irving in 
Prospect Park, Brooklyn. (American art annual, vol. 7.) 



154 

MacEweiN^ Walter^ (P., Mural P.) b. Chicago, 111., February 13, 1860. 
Pupil of Cormon and Eobert-Fleury in Paris. Received honorable men- 
tion in Paris salon of 1886 ; silver medal, Paris Exposition, 1889 ; silver 
medal, London, 1890; gold medal from city of Berlin, 1891; medal of 
honor, Antwerp, 1894; small gold medal, Munich, 1897; large gold medal, 
Munich, 1901; medal Vienna, 1902; Lippincott prize, Philadelphia, 1902; 
gold medal, Liege, Belgium; chevalier of Legion of Honor of France; 
officer, 1908; chevalier Order of St. Michel, Bavaria; officer Order of 
Leopold, Belgium, 1909. Associate member of National Academy of 
Design, New York, 1903. First vice-president of the Paris Society of 
American Painters. 

"Paints interiors with delicate light, moist sea air and monotonous 
dunes with laborers returning in the evening from their work." (Miither.) 

Successful in the lighting of his subjects drawn from the private life 
of the Dutch bourgeoisie, while his portraits are excellent — well drawn 
and well painted. 

'^Woman of the empire" exhibited in the Paris salon of 1903 is; re- 
markable for its unusual finish rather than for originality or force of 
conception. "Holland interior" and "The secret" are two jjopular works. 
"Phyllis" is a prize picture. 

Other paintings are: 

"The yellow robe" "At the window" 

"The betrothed" "The letter" 

"The secretary" "Confidences" 

"Judgment of Paris" "Head of young Dutch girl" 

"Idyl of summer" "At the burgomaster's" 

"The shepherdess" 

"It is MacEwen's consummate ability to represent textures and to 
produce a soft harmonious effect that imparts charm to the canvas." 
(Brush & P. 11:30L) 

His mural decorations in the Library of Congress are a series illus- 
trating the stories of Greek heroes. (Brush & P. 19:21.) 

McLane, Myrtle Jean (Mrs. John C. Johansen), (P., I.) b. Chicago, 
September 14, 1878. Studied in the Art Institute, Chicago, and under 
Duveneck and Chase. Has illustrated for Harper's and Scribner's maga- 
zines. Studio residence is in New York City. 

Her "Mother and child" was awarded the Shaw prize and given a place 
of honor at the annual exhibition of the National Academy of Design, 
New York; she has also won several other prizes. 

"Her work is strong, colorful and convincing." (Art & P. 3:612.) 

"On the hilltop" exhibited at the Paris salon, was particularly attrac- 



155 

tive. "It was a buoyant canvas, alert Avith the abounding wliolesomeness 
and spacious exhilaration of the upper air." 

'•'The impression that her art creates is of breadth of vision and clear 
comi>rehension. These qualities are felt in her standing portrait "Girl 
in gra}^'' v>ath Avhich she first attracted particular notice." 

"Wholesomeness is a distinguishing quality of her art." (Harp. 
118:291.) 

MacLaughlan, Donald Shaw^ (E.) b. Boston, Mass., November 9, 
1876. Studied art with W. D. Hamilton, later went to Paris to continue 
his studies. 

Received silver medal for etching at the Pan-American Exposition, 
Buffalo, 1901 ; medal of honor, Limoges, 1903 ; bronze medal at St. Louis 
Exposition, 1901. A member of the Paris American Artists Society. 

Mr. Frederick Wedmore, in a lecture on "Etching" delivered January 
23, 1911, before the Royal Society of Arts, said : "America, since Whistler, 
has given us one etcher of importance, Mr. MacLaughlan." 

In the short period of Mr. MacLaughlan's activity — he has been before 
the public less than ten years — he has catalogued more than sixty etch- 
ings and dry-points. 

One of the International studio's critics w^rites : "Looking at the etch- 
ings now reproduced one is quickly convinced of this truth — that even 
coming after the greatest among the masters .... such as Diirer. Rem- 
brandt, Callot, Meryon, Whistler, Seymour-Haden, Flameng and Buhot, 
an artist endowed as MacLaughlan is endowed with the feeling of 
modernit}' and strong in his impeccable craftsmanship, may yet be able 
to add a personal page to the history of engraving." 

Minuteness added to a broad and snre sense of general effects : here in 
few words is the essence of his art. 

Mr. MacLaughlin has found his principal subjects in the streets of 
Paris, although Parma, Pavia, Bologna, Tuscany, Roman Oampagna, 
Tivoli, Neapolitan district all in turn have attracted him. 

MacMO'NNies, Frederick William^ (S., P.) b. Brooklyn, N. Y., Sep- 
tember 28, 1863. At the age of sixteen he attracted the attention of 
Augustus Saint-Gaudens who received him as an apprentice in his studio ; 
later he went to Paris and Munich where he spent some time studying 
painting which he considered so closely allied to sculpture as to be a 
necessary preparation. On a second trip to Europe he entered the atelier 
Falguiere in the Ecole des Beaux Arts, also worked in the private studio 
of Antonio Mercie. 

In Paris he speedily achieved the most gratifying success, carrying off 
for two successive years the prix d'atelier, the highest award for which 
foreigners in France may compete. Among the many flattering recogni- 



156 

tions of his gifts are decorations of the Legion of Honor of France, and 
the cross of iSaint Michael of Bavaria; he has also won the first prize of 
the National School of Fine Arts. A member of the National Academy 
of Design, 1906. 

In 1889 his first exhibit, a ''Diana," obtained honorable mention from 
the Paris salon. He exhibited in the salon of 1891 the statues of Nathan 
Hale and James S. T. Stronahan and was awarded a second gold medal, 
this being the first and only time that an American sculptor has attained 
that honor. 

His "Bacchante" was purchased by the French government for the 
Luxembourg, he being the first American sculptor to be so honored. 

These w^ere followed by "Pan of Rohallion" and "Faun with heron" 
which obtained for him such a reputation in the United States that he 
was chosen to execute the colossal fountain of the Columbian Exposition, 
containing twenty-seven gigantic figures. 

Mr. MacMonnies is busy at this time on a monument to^ commemorate 
at Princeton, N. J., the Battle of Princeton. It is to be a group in 
high relief, Washington one of the principal figures. 

MacNeil, Carol Brooks (Mrs. H. A. MacNeil), (S.) b. Chicago, 111., 
January 15, 1871. Pupil of Art Institute, Chicago, under Lorado Taft; 
MacMonnies and In j albert in Paris. Member of N. Y. Woman's Art 
Club; National Sculpture Society. 

"She might be called a miniature sculptor, if there is such a phrase, 
for her creations are not of statuesque proportions. Portrait busts she 
has done and they are well done; but her originality has run rather to 
unique designs for vases, inkstands, fountains and other articles of 
practical utility." (W. Work 14:9403.) 

MacNeil, Hermon Atkins, (S.) b. Everett, Mass., February 27, 1866. 
I*upil of the Massachusetts Normal Art School in Boston, Chapu at 
Julien Academy and Falguiere at Ecole des Beaux Arts in Paris. On his 
return from Paris he went immediately to the Northwest where he so- 
journed with the Indians making sketches for the four bronze reliefs 
that now adorn the Marquette building in Chicago. These reliefs sym- 
bolize four dramatic incidents in the life of Pere Marquette. 

Mr. MacNeil taught in the Art Institute, Chicago, for a time then he 
won the Rinehart scholarship and studied in Rome for four years. He 
was the first instructor in drawing and modeling at Cornell University, 
also served as instructor in Pratt Institute, Brooklyn, in the Art Stu- 
dents' League and the Academy of Design in New York. He has won 
many medals and prizes; was elected associate National Academy of 
Design, 1905; academician, 1906. 

"The coming of the white man" is perhaps the best known of Mr. Mac- 



157 

Neil's Indian groups, and the McKinley statue at Columbus, Ohio, is the 

lirst masterpiece of the kind that he has produced." (W. Work 14 :9403.; 

In 1888 he went to Paris and in 1890 exhibited a bust in the salon. 

While living in Rome and working in the Villa delPAurora, he produced : 

^'The moqui runner" ^Trom chaos came light" 

"A primitive chant" ''The sun vow" 

Taft says: "There are few American sculptors who manipulate the 
clay as charmingly as does Mr. MacNeil. His work is full of delightful 
touches and felicitous passages, yet the firm construction is never sacri- 
ficed to the superficial graces Two busts of women modeled by 

him are among the finest works yet produced by an American — Herbert 
Adams alone has surpassed the ''Agnese" ...... "Beatrice" is less beau- 
tiful in execution." 

Macomber, Mary L., (P.) b. Fall River, Mass., August 21, 1861. Pupil 
of Duveneck and Boston Museum of Fine Arts. Specialty, ideal figures. 

With the exception of a few weeks in England, France and Holland, 
her life has been spent in the United States. 

Her ancestors were New England orthodox with direct and easily 
traceable line from the Plymouth Pilgrims. She was shocked because 
the religious atmosphere of her earliest creations caused some to think 
her a Roman Catholic and she gave up the religious subjects of the old 
masters and began the delineation of her ideals hj means of winged 
figures representing allegories of love. This style giving rise to the 
charge of sentimentality, she abandoned the winged figures for her 
present types. 

Many of her pictures in recent years have been in the panel form, and 
as decorations have proven highly satisfactory. Her "Hour of grace,^- 
"An Easter carol" and "The magdalen" are among such works. 

Miss Macomber's early work shows the influence of the Burne-Jones- 
Rossetti-Watts school and in such of her early reactions as "Memory com- 
forting Sorrow," "Night and her daughter Sleep," her partiality to this 
group of idealists is plainly traceable. 

In more recent years, however, her originality of subject is unques- 
tioned in such as 

"Springtime" 

"Life" 

"Singing stars" 

"The nightingale" 

"Kissed fruit" 

"Spring" 

(Charles A. Parker in Int. studio 47:lxi.) 



158 

Malbone, Edward Greiene^ (Min. P.) b. Newport, R. I., August 1777; 
d. May 7, 1807. 'What Gilbert Stuart was to the larger portraiture of 
America, such was Edward Green Malbone to the miniature work of his 
native land." 

From childhood he was ambitious to become an artist, and at the age or 
seventeen he was working professionally drawing heads in miniature; 
and in the spring of 179G he was fairly established as a miniature 
painter in Boston. Meeting Washington Allston, a strong friendship 
was formed which lasted during the life of the younger artist. In 1800 
(Malbone and Allston went south where the former painted many min- 
iatures. Later they Avent to London where Benjamin West, then presi- 
dent of the Royal Academy, gave them a cordial reception. Here Mal- 
bone painted his celebrated picture known as ''The hours." It is upon 
ivory and is exquisite in composition and color. It is now owned by 
the Athenaeum at Providence, R. I. Of this achievement Benjamin West 
said: "I have seen a picture painted by a young man named Malbone 
which no man in England could excel." 

This picture remained for nearly a hundred years an isolated example 
of American art, when its influence was worthily carried out by Mr. W. 
J. Baers' "Aurora" and "Golden hour," and the interesting figure pieces 
by Lucia Fairchild Fuller. "He had the happy talent," writes Allston, 
"of elevating the character without impairing the likeness. (Heirlooms 
in miniatures" Anne Hollingsworth Wharton.) 

"Malbone was easily at his best in portraiture. His famous com- 
position "The hours" now oA^^led by the Athenaeum at Providence is re- 
markable for its brilliancy and harmony of coloring and execution. Mal- 
bone' s reputation rests on the correct drawing and acute discernment 
of character always present in his portraits, coupled with harmony and 
truth in coloring." (Scrib. 47:564.) 

Manship, Paul^ (S.) Was born in St. Paul, Minn., and is about 30 
years of age. Wliile attending school in his native city he became in- 
terested in modeling and decided to be a sculptor. Later he had instruc- 
tions from Charles Grafly, the sculptor, and won in 1909 the Roman 
prize of the American Academy which gave him three years' study in 
Rome and also travel in Greece. About two years ago he returned to 
the United States and his bronzes at once became the most attractive 
feature of art exhibitions. 

At a recent exhibition of the National Academy of Design his "Cen- 
taur and Dryad" took the Helen Foster Bamett prize (the only prize 
offered by the academy for sculpture). Four replicas of this bronze 
group have been made ; the Metropolitan Museum of New York has pur- 
chased one, but the original is now owned by the Detroit Museum of 
Art. 



159 

''What impresses the observer of Mr. Manship's work is the combin- 
ation in it of classic precision with western virility and reality 

The bronze at the academy which drew most comments from the artists 
was the one entitled •'•The awakening of si)ring." (Outl. 106:335.) 

"His groups are full of the direct observation of life and of an 

essential modernity He applies to figures an archaistic treatment 

in unarchaic freedom movement, doing things that no archaic sculptor 
would have thought of making them do." (Nation 96:162.) 

"Playfulness" as example represents the "slim young mother with the 
wide-open archaic eyes slightly uplifted at the corners gayly playing at 
ride-a-cock-horse with the baby." 

It is in his fountain figure, "The duck girl" (awarded the George D. 
Widener memorial medal) that he shows what he can really do. "It 
seems to me an original work of true classic inspiration which the 
ancients themselves would have cared for as I do." (Kenyon Cox.) 

His small bronzes are technically exquisite, spontaneous and free in 
their conception and fascinating because so unusual. (House Beautiful 
35:126.) 

At the last exhibition of the Pennsylvania Academy of the Fine Arts 
Mr. Manship was represented by thirteen groups, and he is referred to 
as the new sculptor "who is carrying everything before him." (Int. 
studio 52:xiii.) 

Marin, John, (P.). Belongs to the Post-impressionist movement in 
Paris. A group of fifteen pictures of his were shown at the ninth annual 
exhibition of the Philadelphia Water Color Club. 

"He has achieved brilliant success in etching, showing much originality 
and power in his flexibility of line and depth of color." 

Marsh, Fred Dana, (Mural P.) b. Chicago, 111., April 6, 1872. Pupil 
of Art Institute, Chicago. Won bronze medal, Paris Exposition, 1900; 
silver medal, Pan-American Exposition, Buffalo, 1901; bronze medal, 
St. Louis Exposition, 1904. Member Society American Artists. Asso* 
ciate National Academy of Design, 1906. 

His most notable work is a series of mural paintings symbolic of 
modern progress in engineering, executed for the New York Engineers' 
Club. 

Martin, Homer Dodge,, (P.) b. Albany, N. Y., October 28, 1836; d. St. 
Paul, Minn., February 12, 1897. Established a studio in New York in 
1862. Was elected member of the National Academy of Design in 1874. 
His first trip to Europe was made in 1876 when he met Whistler who 
promptly recognized his qualities as a painter and invited him to work 
in his studio ; he resided in France during 1882-6. 



IGO 



Among his most important works are: 



a 



White Mountains from Kan- ^'Morning on the Saranac" 

dolph hill'^ ^'A fire-slash lookout" 

"Lake Sanford" "A lake in the wilderness" 

"Honfleur lights" "Evening on the Thames" 

"Source of the Hudson" "Sand dunes of Lake Ontario" 

"Old Normandy Manor" "The sun worshippers" 

"The mussel gatherers" "Golden sands" 
"On the Seine" ( Harp of the 
winds) 

"Winchester hills" and "Adriondack scenery" are considered his mas- 
terpieces. His painting "The old church at Criqueboeuf" — Normandy 
landscape — was called by M. Boutet de Monvel, the late well known 
French painter, "the greatest landscape ever painted in America." He 
further declared that it was equal to the best of Kousseau's w^ork, and 
yet was unlike anything that Rousseau had done. 

During his lifetime his pictures did not sell or were purchased by 
admiring friends, among whom were artists, critics, editors, poets, musi- 
cians, physicians and bankers, but now it is practically impossible to 
buy a really important example of his work. 

"The harp of the winds," "The Normandy farm," and "The Adiron- 
dacks" were painted after he was practically blind; the optic nerve of 
one eye was dead and a cataract partly clouded the other. The story 
of his failure to interest the buying public together with ill-health and 
approaching blindness, is most pathetic. He never looked with bitter- 
ness on the success of men far inferior to himself. 

"His work is that of a poet painter, but of one who felt more deeply 
the grandeur of mountain scenery than he did the pastoral beauty of 
simple scenes." "More than one critic has accorded to Martin the high- 
est rank among the poet painters of American landscape." (Nat. C^^c. 
Am. Biog.) 

Har-tmann says : "He was one of the men who brought our landscape 
art to its highest pinnacle of perfection." 

Liibke says : "It was in his study that his composition was made and 
it was there that he produced those astonishing pieces of truth in the 
anatomy of hillside and rocky cliff in which no landscape painter has 
ever surpassed him." 

Maynarp, George W., (P., Mural P., I.) b. Washington, D. C, March 
5, 1843. A student at the National Academy of Design in 1868. A year 
later he went to Antwerp where in company with Francis D. Millet he 
entered the Royal Academy of Fine Arts and studied under Van Lerius. 



161 

Alter four years in the academy and the museums of Belgium, he and 
his friend made a trip through central and southern Europe, returning to 
New York in the spring of 1874. The following year he became assistant 
to John LaFarge in company Avith Saint-Gaudens, Millet and Lathrop 
in the interior decoration of Trinity Church, Boston, the first important 
work of this character done in America, the merit of which has hardly 
been excelled. 

In 1877 he again visited Europe, inaking a special study of mural 
painting. He was elected associate member of the National Academy 
of Design in 1881, full member in 1885 and taught drawing for many 
years in the schools of Cooper Institute and at the Academy. 

In 1884 he won the Temple gold medal at Philadelphia, and in 1888" 
the American Art Association medal of honor was awarded to him by the 
artist exhibitors. His picture "Sappho'' was purchased by the Penn- 
sylvania Academy of the Fine Arts in 1889 and "Sirens" won the Evan 
prize. 

Among his numerous pictures are: 

"The angelus" "Strange gods" 

"Water carriers of Venice" "Old and rare" 

"An ancient mariner" 

"He is a decorator in the truest sense. He is broader than a regiment 
of studio men, for he brings to his canvas a born colorist's pallette, and 
a style and comprehension of Avhat is purely beautiful beyond the mere 
prettiness of ordinary drawing room motives. His picture entitled "In 
strange seas" is a captivating group of sportive sirens gambolling amid 
the blue billows of the real ocean, an almost possible vision, attractively 
mingling the poetic and the actual." (New Eng. 14:148.) 

Meiars, Heilen Farnsworth^ (S.) b. Oskosh, Wis., 1876. Studied art 
in New York and Paris; later was an assistant of Augustus Saint- 
Gaudens. 

Her first success was "Genius of war." This was followed by "The 
fountain of life" and busts of George Kogers Clark and Dr. William L. G. 
Morton and portrait reliefs of Augustus Saint-Gaudens, Louise Collier 
Willcox and Edward A. McDowell. 

Miss Mears' most notable work was the execution of the statue of the 
late Frances E. Willard placed in the Hall of Statues in the capitol at 
Washington, and unveiled on February 17, 1908. This is the first statue 
of a woman by a woman to be placed in the building. 

Me;lchers, J. Gari, (P., Mural P.) b. Detroit, Mich., August 11, 1860. 
At the age of seventeen he went to Germany, studying art in Diisseldorf 
21 



162 

under Van Gebhardt; later he studied under Lefebvre and Boulanger, 
also at the Cbur Yvon (famous class at Ecole des Beaux Arts), Paris; 
after this took up his residence in Holland and has a studio at Egmond- 
aan-Zee. 

Mr. Melchers has received many honors in recognition of his fine 
artistic ability. He is a chevalier of the Legion of Honor of Prance; 
Knight of the Order of St. Michael, Bavaria; Knight of the Bed E'agle, 
Germany and has received honorable mention in the Paris salon ; also 
won medals of honor from Amsterdam, Antwerp, Munich and Vienna. 
He is a member of the International Society of Artists, London; The 
Secessionists, Munich ; Societe Nationale des Beaux Arts, Paris, and 
professor at the Grand-Ducal Academy of Art in Weimar; was elected 
associate member of the National Academy of Design, New York, in 
1904 ; full member in 1906 ; is first vice-president of the Paris Society 
of American Painters. 

Mr. Melchers is an American artist who has received more recognition 
abroad than at home. His first effort in Dutch painting, "The Sermon" 
won honorable mention in the Paris salon of 1886. In 1889, when 
twenty-eight years old he received the blue ribbon of art — a medal of 
honor in Paris. Only three American painters have won this coveted 
distinction — Whistler, Sargent and Melchers. 

His 'Tamily" hangs in Berlin; "^'Maternity" in the Luxembourg; ''The 
sliip builder" in Dresden; "Man with the cloak" in Rome; "Supper at 
Emmaus" owned by the Krupp family; "Girl in church" is in the Royal 
Gallery, Munich. 

Brinton says in "Modern artists": "It is not alone the homely pic- 
turesqueness of peasant or fisherman, the vast mottled skies, or the play 
of constantly diffused light which attract him to Holland. It was also 
the sterling artistic tradition of the country itself." 

His frescoes "Peace" and "War" in the Library of Congress at Wash- 
ington share with Sargent's frieze "The prophets" in the Boston Public 
Library, the distinction of being the finest frescoes in America. 

Landscape painting is Mr. Melchers' relaxation — "Green summer," 
"The arbor," "Winter," "Under the trees," are studies in sunlight and 
reflection. 

Melchers was the first artist to' apply for permission to copy the 
Botticelli frescoes when they were put in the Louvre. 

He has painted a great many portraits in America and abroad. Caffin 
says: "Melchers is a searching analyst, stating without comment of his 
s£>wn, exactly what he sees, but — he sees below the surface." 




J. GARI MELCHERS. 



164 



Among his finest works are 

"Married" 
"Sainte Gudule" 
"The communion" 
"Stevedore" 
"The skaters" 
"A Holland lady" 
"A fencer^' 
"Audrey" 
"The nativity" 
"The bride" 
"The wedding" 
"Little Constance" 



"Penelope" 

"Child in church" 

"The green mantle" 

"Mother and child" 

"Pilots" 

"Young mother" 

"The kiss" 

"Sailor and his sweethear-t" 

"The China closet" 

"The Delft horse" 

"Vespers" 



"The w^ork of Mr. Melchers is full of that essential quality — person- 
ality." (C. Lewis Hind in World's Work 15:10092.) 

Merritt, Anna Lea (Mrs Henry Merritt), (E.) b. Philadelphia, Pa., 
September 13, 1844. Began painting at the age of twenty-one but never 
had the advantage of academic training. She traveled four years on the 
continent with her parents and sisters, and in 1871 exhibited her first 
picture, a portrait, at the Koyal Academy London. Since then she has 
been a constant exhibitor at that institution, and is a member of the 
Society of Painter-Etchers, London. She married Henry Merritt, artist 
and author, London, who died within a few months, and it was to furnish 
by her own hand etchings for a memorial work to her husband that she 
learned to etch. 

Mrs. Merritt is one of the few women in this country who have etched 
the human figure. Her portraits of her husband, Sir Gilbert Scott, the 
celebrated architect, Louis Agassiz, Lady Dufferin, Oliver Wendell 
Holmes and others rank among the best of modern etched portraits. 

"She has executed many charming plates, principally portraits of dis- 
tinguished men and women of the time, with an occasional plate of river 
scenery, landscape or interpretation of her own paintings. Her vigorous 
portraits of Miss Ellen Terry and a large head of Mr. Leslie Stephens are 
striking examples of good etching." 

Mrs. Merritt was the first woman painter whose work was purchased 
by the Chantrey fund. "Love locked out" was the subject. The picture 
is now in the Chantrey collection of the Tate gallery, London. 

Metcalf, Willard LeKoy^ (P.) b. Lowell, Mass., July 1, 1858. Edu- 
cated in the public schools of Massachusetts; apprenticed to a wood 
engraver of Boston in 1875 ; then to George L. Brown, a landscape 
painter, Boston, 1876-7. Student in Lowell Institute, Boston Normal 



165 

Art School, Boston Art Museum School, Academie Julien, Paris; also 
studied under Boulanger and Lefebvre in 1883. He is represented in 
the leading art galleries of the United States; received the Webb prize, 
society of American Artists. 1896, and awarded the Temple gold medal, 
Pennsylvania Academy of the Fine Arts, also Corcoran gold medal; 
member of the Ten American Painters. 

Mr. Metcalf is numbered among the foremost of the American land- 
scape painters. During his six years' study in Paris his most successful 
picture was the ''Arab market" which received honorable mention in the 
Paris salon in 1889. Most of his painting is portrait work; taught 
antique and life classes at the Cooper Institute; traveled in the west 
two years with Frank Cushing, getting the benefit of his profound 
laiowledge of the Indians. 

Well known works : 

''A family of birches" '^Golden screen" 

"May night" "Mid-winter" 

"Unfolding buds" "The snow bearers" 

"Spring fields" "Green canopy" 

"Ice bound" "The white veil" 

"Light and air are to him matters of serious concern, but also are form 
and motion. Unlike the majority of those who follow the impression- 
ists teachings, he cares not merely for the effect of sunlight but for the 
object upon which the sunlight falls, and paints now always in a high 
key." (Int. studio 39:8.) 

Mr. Metcalf is quite remarkable in the field of flower painting. 

By general consent Mr. Metcalf s "Trembling leaves" has been labeled 
"notable." 

MiELATz, Chaeles FREDERICK WiLLiAM. (E.) b. Buddiu, Germany, 
May 21, 1861. A pupil of the National Academy of Design, and F. 
Bondel. 

Member of the International Jury of Awards, St. Louis Exposition, 
1904 ; member of Xew York Etching Club ; was elected associate member 
of National Academy of Design, 1906, and is a teacher of etching in 
the academy. 

A. L. Baldry says in "Modern etching" that Mr. Mielatz "possesses a 
power of rendering a great variety of subject-matter with success. Bulk 
and masses of architecture, characteristics of street people and buildings, 
he sets down always with grace and conviction." 

Miller, Richard E., (P.) b. St. Louis, Mo., March 22, 1875. A pupil 
of the St. Louis School of Fine Arts, he later studied with Benjamin- 



166 

Constant and Laurens in Paris. In 1900 he received the third-class 
medal in the Paris salon, and in 1904, the second-class medal. Since 
1905 his paintings have been hors concours in the salon of the Society 
des Artistes, France. He is a member of the Legion of Honor and second 
vice-president of the Paris Society of American Painters. 

Mr. Miller lives in France and has had very many artistic honors 
bestowed npon him both there and in the United States. 

Two of his paintings, ''The mother" and "The puppet" are hung in 
the permanent collection of the Luxembourg, Paris, and another has 
been placed in the Petit Palais. ''The dressing table" (a portrait of Mrs. 
Miller) has been purchased by the Italian government; "Lady with fan" 
is in the Gallery of Modern Art, Kome ; "The Chinese statuette," Metro- 
politan Museum, New York; "The boudoir," Corcoran Gallery of Art, 
Washington, D. C. ; Examples of his work are also in the Royal Museum 
of Christiania, King of Italy's private collection. Museum of Fine Arts, 
Antwerp, and Modern Gallery of Venice. 

"The open window" (also called "Spring") was shown in the Salon 
des Artistes Francais in 1914. A nude exhibited at the Chicago Art 
Institute Annual Exhibition of last year, was awarded the Potter Palmer 
prize. It has been pronounced one of his best works. 

Other popular paintings are: 

"In the garden" ■ "The green parasol" 

"The mirror" "Lady with red hair" 

"The Chinese coat" "The cafe" 

The play of light on objects Avhether indoors or out presents innumer- 
able problems of alluring interest. It is in the solution of these that 
Mr. Miller has found special delight and success. 

"Art's mission," he says, ''is not literary, the telling of a story, but 
decorative, the conveying of a pleasant optical sensation." 

"His exteriors are vividly if pleasingly green, relieved always by the 
presence of flesh and light summer gowns, and invariably somewhere a 
touch of red." 

"The Miller pictures, to analyze their popularity, are all suggestive 

and broad in treatment Everything is selective, but harmonious 

through a clear general concept of values." 

Millet, Francis Davis, (P. I., Mural P.) b. Mattapoisett, Mass., 
November 3, 1846. Lost his life in the S. S. Titanic disaster, April 15, 
1912. Pupil of the Royal Academy of Arts in Antwerp under Van Lerius 
and De Keyser. 

Received silver and gold medals of honor, 1872 and 1873, at the Royal 
Academy, Antwerp; silver medal, Paris Exposition, 1889; chevalier of 



167 

the Legion of Honor of France. He was special correspondent for the 
'^Daily NeAvs" during the Russo-Turkish war, 1877. For this work he 
received the Roumanian Iron Cross and the Order of Chevalier St. Anne 
and of St. Stanislaus from the Russian government; was also special 
correspondent of the "London Times" at Manila during Spanish war. 
Director of decorations, Columbian Exposition, Chicago, 1893. Member 
of the National Academy of Design since 1885. 

He was vice-chairman of the Federal committee of Fine Arts as well as 
secretary and executive officer of the American Academy in Rome. He 
organized the American Federation of Arts and was its secretary from 
the beginning. 

Mr. Millet has painted a number of portraits, tlie most important 
being those of Charles Francis Adams, Jr. and Samuel L. Clemens ( Mark 
Twain) both exhibited at the National Academy of Design, New York, in 
1877. 

A few of his paintings in oil are: 

"Off duty" "A cozy corner" 

"How the gossip grew'' "A handmaiden" 

"A difficult duet" "Piping times of peace" 

"Love letter-^' "The black sheep" 

"Wandering thoughts" "Between two fires" 

"Fireside companions" "Rook and pigeon" 
"Lucky at cards, unlucky in love" 

"Mr. Millet does not revel in painting considered as being by itself one 
of the fine arts; his intention is almost as much literary as it is artistic; 
an episode of life, an anecdote, a state of soul rendered manifest in a 
pleasing manner and in the midst of curious amusing accessories, studied 
with the minuteness and neatness of touch of the later Old Dutch masters 
— such is Millet's conception of his art." (Child's "Art and criticism.") 

"In his pictures of episode he reveals the situation, not by acting but 
by suggesting it ; therefore they have the charm of repose. His canvases 
have incipient or completed action — rarely the suspended motion that 
tires us by its arrest or vehemence." 

His "Thesmophoria" or harvest feast, in a Pittsburgh bank, is a fine 
piece of mural painting. 

"Fine as his easel pictures are, it is as a great mural painter that his 
fame will last. His masterpiece is his monumental work for the Balti- 
more custom house — "The evolution of navigation." (Art & P., 3:635.) 

Minor, Robekt Crannell^ (P.) b. New York City, 1840; d. Waterford^ 
Conn., August 3, 1904. 

First entered a business career but later decided to become a painter. 



168 

He studied painting for two years under Alfred C. Howland, then went 
to Europe, studying with Van Luppen and Boulanger in Holland and 
Belgium. After three years in Paris he joined the colony at Barbizon 
where he was more or less under the personal influence of Diaz and 
Oorot. In 1872 he exhibited "The silent lake" in the Paris salon, then 
spent two years in England during which time he exhibited at the Royal 
Academy and Grosvenor Gallery. 

"Moonlight" secured honorable mention at the Paris Exposiition and 
"Close of a day" won a bronze medal. 

Among his best known paintings are : 

"Studio of Oorot" "Under the oaks" 

"Wold of Kent" "Cradle of the Hudson" 

"Mountain path" "Gray day in September" 

Coffin wrote of his work : "Poetic sentiment with fine resonant color 
effects are found in the landscapes of Robert C. Minor who is an avowed 
'Barbizon man' Simplicity of subject and completeness of com- 
position are the main factors in his creations and particularly in sunset 
;and in twilight effects does he appear as a sympathetic interpreter of 
nature's subtle changes." 

Mr. Minor was vice-president of the Societe Artistique Litteraire of 
Antwerp, president of the Salmagundi Club in 1898 and elected a mem- 
ber of the National Academy of Design in 1897. 

MiTCHEiLL, John Jaisies, (E., P.) b. New York, 1845. Lived abroad from 
1867-70, studying architecture which profession he practiced in Boston 
until 1876. In that year he again went to Europe and devoted himself 
to the study of drawing and painting under Boulanger and Lefebvre 
and Albert Maigman until his return in September 1880. His first efforts 
in etching were made in Boston but he did not begin the practice of this 
art until 1876 when he received instruction from Brunet-Dehaines, one 
of the best Fl^ench etchers of our day ; he learned from himi a delicacy 
and refinement in the management of his tools which stood him; in good 
stead in several series of small figure subjects published some time ago 
in Paris. He is especially clever if at times a bit theatrical in his man- 
agement of strong floods of light." (Century 25 Ol S. :497.) 

Monks, John Austin Sands, (P., E.) b. Cold Springs-on-Hudson, 
N. Y., November 7, 1850. Pupil of George N. Cass and George Inness. 

As a young man he was an engraver, but after a trip to Boston he 
took up landscape painting. Inness saw his study of an old willow tree, 
sent for him to come to his studio and later invited him to become his 
pupil. "Not only has he painted sheep indoors and out, at play, sleeping 



1G9 

in sunshine, in twilight, but he has modeled them in clay." He has also 
painted the sheep of the various localities in this country until he has 
hecome known as America's painter of sheep." (Craftsman 22:619.) 

''Mr. Monks studied his sheep from the standpoint of a practical 
farmer as Avell as a poet and painter, hence the solid construction of his 
pictures, and the convincing reality of every incident and detail of their 
action and environment." 

'•As a painter of sheep this finely trained artist has attained a mastery 
that allows him to speak the whole are language through the vehicle of 
the simple life incidents of these most humanly suggestive of our domes- 
tic animals." (New Eng. M. 42:755.) 

Mora, Francis Luis, (P., I., Mural P.) b. Montevideo, Uruguay, July 
27, 1874. He received his art education in the School of the Boston 
Museum under Benson and Tarbell and at the xlrt Students' League of 
New York under Mowbray. Beginning about 1892 he did illustratiug 
work for all the leading magazines and periodicals. He has won many 
prizes and medals and is a member of the leading art organizations; 
an associate member of the National Academy of Design, 1904, academi- 
cian, 1906. For nine years was a teacher in drawing and painting classes 
of the New York School of Art. 

Mr. Mora's father was a Spanish painter, his mother a Frenchwoman 
and his early life was spent in South America. "Perhaps it is these very 
conflicting conditions in the life of Mr. Luis Mora that has evolved the 
unusual quality of his art, an art essentially Spanish in subject and 
feeling and wholly modern and American in expression .... The quality 
of Mr. Mora's paintings of gardens is a thing one returns to again and 
again in memory as one likes to see them over and over again in his 

studio .... In these gardens there is Spain's past magnificence 

The women are slow-moving and graceful, the children joyous, and be- 
hind all the radiance of these fine silent garden hovers the shadow of 
a tragic, barbaric nation." (Craftsman 17:402.) 

"Picnic on the beach" is a most afiinnative picture, capital in fresh 
white and blue, composed with utmost wisdom of technique, but eiflore- 
scent with nature both in composition and in gaiety of spirit." (Int. 
studio 35:lii.) 

MoRAN, Edward, (P.) b. Bolton, Lancashire, England, August 19, 
1829; d. New York, June 9, 1901. Elder brother of Peter and Thomas 
Moran. He arrived in Philadelphia in 1844 and was a pupil of James 
Hamilton, marine painter, and of Paul Weber, landscape painter. In 
1862 he went abroad, studying in the Royal Academy of London for a 
few months. In 1869 he settled in New York, going to Paris in 1877 
where he lived some time. He was a member of Pennsylvania Academy 



170 

of the Fine Arts and elected associate member of the National Academy 
of Design in 1873. 

His first pictures were exhibited in Philadelphia in 1853. The Balti- 
more Gazette, July 1, 1873, in commenting on Mr. Moran's painting 
entitled ^'In the narrows," said : '^The great charm of the picture is 
motion." 

He printed in 1872 the first illustrated catalog printed in this country. 
He worked chiefly in marines, in both oil and water-color. 

A series of historical paintings, thirteen in number, was completed in 
1899. These represent thirteen epochs in the marine history of America 
from the landing of Leif Erickson in 1001 to the return of Admiral 
Dewey in 1899. 

MoRAN, Mary Nimmo, (p].. P.) b. Strathaven near Glasgow, Scotland^ 
1842; d. September, 1899. Came when a child Avith her family to the 
United States. In 1863 she married Thomas Moran, the AA^ell known 
landscape painter; in 1867 accompanied him to England, France and 
Italy and in 1874 traveled with him in the far west. Her work was 
principally water-color until in 1879 when she made her first attempts 
in etching as a pastime during her husband's absence on an extended 
trip. 

Mrs. Schuyler Van Kensselaer says Mrs. Moran found her true artistic 
voice only when she took up the etching needle. In 1887 an exhibition of 
the work of the women etchers in America was held at the Museum of 
Fine Arts, Boston, and while Miss Gabrielle D. Clements, Miss Mary 
Cummings BroAvn, Mrs. Edith Loring Peirce Getchell, Mrs. Eliza Great- 
orex, Mrs. Anna Lea Merritt, Miss Margaret M. Taylor, and sixteen other 
talented women Avere represented, Mrs. Mary Nimmo Moran took rank 
both in number and qualit}^ of plates. This position she held until the 
time of her death. 

Her ^'Twilight" is a plate of extraordinary power and beauty. "East- 
hampton Barren" which possesses a poetic charm, and ^'Bridge over the 
Delaware" (her first plate) are two of the four original etchings made in 
1879 that were sent to the NeAV York Etching Club and Avhich gained 
her recognition as a master of the needle. "Solitude" is one of her best, 
as it is one of her strongest etchings. "Goose pond" was the diploma 
etching that secured her election to the Society of Painter-Etchers, Lon- 
don. (Brush &P. 8:3.) 

"In etching, Mrs. Moran finds a language that accords entirely with her 
ideas and modes of expression. She treats her subjects AArith poetical dis- 
dain of detail, but with a firm grasp of the leading truths that give force 
and character to her work. While her etchings do not display the 
smoothness that comes from great mechanical dexterity, her touch is 
essentially that of the true etcher." (Koehler's "American Etchings.") 



171 

"Her etchings are marked by energetic empliasis and bold directness 
rather than delicacy or smoothness." (Scrib. 46.) 

MoRAN, Peter, (E., P.) b. Bolton, Lancashire, England, March 4, 1842; 
d Philadelphia, Pa., November 13, 1914. He was brought to America by 
his parents when three years af age. When sixteen he was apprenticed 
by his father to learn the trade of lithographic printing in Philadelphia. 
Later devoted himself to painting, becoming in 1859 the pnpil of his 
brothers^ — ^landscape, with Thomas, and marine, Avith Edward. He 
studied the works of Lambinet and those of Troyon and Rosa Bonheur 
for animal painting, Avhich subject chiefly attracts him. His plate 
called "The return of the herd," may possibly be called his best. 

From 1875 he devoted much time to etching, and reached the first rank 
in that branch of art. His etching ''Chariot race in the Circus Maximus" 
is a masterpiece, and is considered one of the most important of the kind 
produced in America. 

A few of his original plates are : 



"Low tide on the Schuylkill" "An old New England orchard" 

"A burro train" "Passing storm" 

"An August day" "A summer afternoon" 

Of the last three, Mrs. Schuyler Yan Rensselaer, the distinguished 
art-critic, wrote: "If we will ask for pictures from our etchers, we 
should rejoice when they give them to us of so complete a kind and yet 
with so much of the intrusive charm of etching, properly so-called, as 
does Mr. Peter Moran." 

To Peter Moran and his brother, Thomas, belong the honor of having 
been the first among the artists to recognize the picturesque qualities of 
the scenery of the soutliAvest, and of the life of its aboriginal inhabitants 
— the Pueblo Indians. 

Jules Breton, the distingTiished French painter, on seeing some of 
Mr. Moran's etchings exhibited in Paris, exclaimed : "The man who 
etched those plates, is a master!" 

Moran, Thomas, (P., E., I.) b. Bolton, Lancashire, England, January 
12, 1837. Came with his family to America in 1844. Of the talented 
Moran family, he displayed artistic tastes at an early age and was 
apprenticed to a wood-engraver in Philadelphia, remaining with him 
for two years. At twenty-three he painted a scene from Shelley's "Alas- 
tor" and from 1866-71 studied the masters of France, Italy and Ger- 
many. Returning to America in 1871, he sought subjects of the most 
impressive character, and joined the exploring expedition of that year 
to the Yellowstone country, making sketches for his two great works, 



172 

''The great canyon of the Yellowstone" and ''The chasm of the Colorado." 
These were bought by Congress for |10,000 each and are now in the 
Capitol at Washington. 

Noted paintings are: 

''The mountain of the Holy "The groves were God's first 

Cross" • temples" 

'^The cliffs of the Green river" "A dream of the Orient" 

"Ponce De Leon in Florida" "The children of the mountain" 
"The last arrow" 

He made a series of remarkably fine designs in illustration of Long- 
fellow's "Hiawatha" and original water-color drawings on the Yellow- 
stone National Park. 

In etching his achievements have been both numerous and valuable. 
Among his most excellent plates are : "Sounding sea," "The gate of Ven- 
ice," "Harbor of Yera Cruz, Mexico," ''Venice," "Dordrecht." 

"His knowledge of form and constructive ability is quite remarkable, 
and his skill in composition reveals itself best in the black and white 
reproductions of. his works." (Hartmann.) 

"He has found congenial themes in the weird scenery of the Yellow- 
stone, he has dreamed of Turner in his dreams of the Orient and has 
painted us lovely mornings in the harbor scenes for which he brought 
home his sketches from Cuba and Mexico." (Koehler.) 

For some time in addition to his many paintings and etchings, he de- 
signed 250 illustrations annually. His etchings won hearty praise from 
John Buskin. Associate member National Academy of Design 1881, full 
member 1884. 

MosLEU, Henry^ (P.) b. New York, June 6, 1841. Removed to Cincin- 
nati in 1851 and to Nashville, Tenn., in 1854; studied wood-engraving 
and painting without much outside aid ; was draughtsman on "The Omni- 
bus," a Cincinnati comic weekly in 1855. Pupil of James H. Beard, 
1862-3. Appointed on staff of Gen'l B. W. Johnson. Studied art in 
Diisseldorf and Paris, 1863-6. 

In 1874 he again went to Europe, going to Munich where he studied 
under Wagner and also received private and special criticism from 
Piloty. When in Munich he. won the medal of the Boyal Academy. In 
1877 he removed to Paris, and the following year "The quadroon girl" 
and "Early cares" were exhibited in the salon. His "La retour," better 
known as "The return of the prodigal son," received honorable mention 
in the salon of 1879 and was purchased by the French government for 
the Luxembourg. This was the first picture that France purchased from 



173 

an American artist. Mr. Mosler has never surpassed the technical skill 
displayed in this Lnxembourg picture. 

His "Harvest dance," a Brittany scene, received the gold medal in the 
salon of 1888, which placed his works hors concours in the salon. "The 
last moments" won the only gold medal awarded to a foreign artist by 
the Arch-Duke Carl Ludwig of Austria at an Exhibition in Vienna, He 
received in 1892 the titles "Chevalier de la Legion d'Honneur" and "Offi- 
cier d' Academic. " In 1894 returned to New York. Is a member of the 
National Academy of Design, New York. 

"The qualities of Mr. Mosler are homely sentiment, a talent for telling 
an obvious story such as ordinary people can comprehend and enjoy, and 
an execution which is always adequate and often excellent, so far as it 
goes." (Child's "Ar-t and criticism.") 

The number of his works is considerable. Their titles like the subjects 
treated are generally anecdotic, such as: 



"The return of the prodigal son" "Visit to the marchioness" 

"The village clockmaker" "Breton harvest dawn" 

"The coming storm" "The bir-th of the flag" 

"Forging the cross" "Ring, ring for liberty" 
"The wedding gown" 

Mowbray, Henry Siddons, (M. P.) b. Alexandria, Egypt, August 5, 
1858, of English parents. In 1875 he received an appointment to the 
U. S. Military Academy but remained there less than a year; took up 
chemistry; in 1879 following a preference for art, he went to Paris and 
entered the school of Leon Bonnat. For three years occupied himself 
with genre subjects, of which the best known perhaps is "Aladdin." 
Settled in New York in 1885. Since 1886 has been an instructor in the 
Art Students' League. 

Has won many prizes and medals. "His Evening breeze" won the 
Clark prize in 1888 and he was made full academician in 1891. 

"In many of his works Mr. Mowbray gives pictorial form to the roman- 
tic days of Florentine chateau life during the renaissance ; in others he 

has chosen oriental subjects other paintings are purel}' fanciful, 

of these an excellent example is found in "Floreal" with its graceful 
maidens treading a measure to the sound of the pipe and tambourine." 
(Nat. Cyc. Am. Biog.) 

"In H. Siddons Mowbraj' we have a colorist and man of imagination, 
a wonderful narrator of fanciful tales, with ample knowledge and manual 
skill in the practice of his craft." (New^ Eng. M. 14:143.) 

He also paints portraits of women with sympathetic interpretation 
and exquisite technique. Of late years has given much time to mural 
painting, and among his most recent achievements in this branch of art 



174 

is "The transmission of the law" in the appellate court building, New 
York. 

''It Is a beautiful decoration; very individual and refined, with a 
purity of color and general spontaneity of feeling and execution most 
captivating." (The artist 27:ix.) 

Murphy, John Francis, (P.) b. Oswego, N. Y., December 11, 1853. 
Went to New York City tO' live in 1875. First exhibited at the National 
Academy of Design in 1876. In 1885 he was elected an associate and 
two years later an academician. 

'Tints of a vanished past" won the Hallgarten prize of the National 
Academy in 1885 ; "Brook and fields" won the Webb prize of the Society 
of American Artists in 1887, and "Under gray skies'' won a prize in 
1891. 

Mr. Murphy is one of America's simplest and at the same time most 
poetic landscape painters. 

At an exhibition in 1910 he contributed the following: 

"The opal sunset" "The music boats" 

"A twilight in Venice" "The path to the village" 

"An upland cornfield" "After the frosts" 

"Edge of the pond" "Stony fields" 

"Sunny slopes" "April weather" 

"The brook" "Approach to an old farm" 

"Sunset" "An October day" 

"The charcoal burners" "Landscape" 

"Early fall" "Sundown" 

"A cloudy afternoon" "The yellow leaf" 

"A gray morning" "Neglected lands" 

"He has developed a special fondness for autumn scenes, but these are 
suffused with a flood of yellow or golden tints. They have the season's 
inherent melancholy, but this minor note is vague and tender. The 
nature that Mr. Murphy paints is invariably nature in repose." 

"Simple in the selection of his themes, unpretentious in his composi- 
tions, synthetic in his treatment, not given to sharp contrasts of form 
or color, he has relied for his effects on simple straightforward rendering, 
told in plain terms of personal interpretation." (Brush & P. 10:205.) 

"Others have sounded stronger, deeper notes, others have possessed 
an infinitely wider range of expression; no one of his countrymen has 
surpassed Murphy in the accuracy of his touch, his mastery of values." 

"Murphy is a painter last and primarily a lover of the open, a kind 
of unmethodical naturalist, with something ineradicably primitive and 
rural in his blood." (Int. studio 53 :viii, vi.) 



175 

Nast, Thomas, (P., I.) b. Landau, Bavaria, September 27, 1840; d. 
Guayaquil, Ecuador, December 7, 1902. Came with his parents to 
America in 1816 ; was educated in the New York public schools and dis- 
played a decided talent for art. At the age of fourteen began the study 
of art with Theodore Kaufman and at the age of fifteen furnished 
sketches and drawings for Frank Leslie's Illustrated Newspaper, his 
first assignment being the illustration of an account of a prize fight. 
Later he went to England to make sketches for the New York Illustrated 
News. He followed Garibaldi's army through Sicily and Calabria and 
contributed numerous battle pieces to the illustrated press of New York. 
He returned to United States in 1861 and became a member of Har-per^s 
staff' in the following year. 

Mr. Nast was first to introduce caricature work into America and his 
pictures of war scenes, of Andrew Johnson and of the Tweed King had 
great influence on the politics of his time. His war pictures for Harper's 
AVeekly are among his most notable works. 

"A particular feature of Mr. Nast's work apart from his wonderful 
portraits was the ability to portray the individualit}' of his subject by 
some characteristic pose or peculiarity of apparel." 

His historical paintings in oil hold high rank in America for beauty 
of conception and execution. The most notable of these are : 

^Teace again" '^The seventh regiment going to 

^'Lincoln entering Richmond" war" 

^^Saving the flag" ^'xA.ppomattox" 

"Durino- the civil war" ''The dav before the surrender" 



'& 



''Garibaldi" 



"Mr. Nast's reputation will probably rest on his cartoon work but it 
was his ardent desire that his name should be handed down as a great 
painter of historical scenes." (Brush & P. 11:470.) 

Neandross, Sigurd, (S.) Born of Norwegian parents, on the Pacific 
ocean, while they were en route to the United States. With his nativity 
the ocean, ancestry Scandinavian, a Greek sounding name, and having 
lived several years in Denmark, Sigurd Neandross classes himself with 
American sculptors. 

One of his earliest works, "The sound of the sea" was made for a 
monument at Copenhagen. 

Two groups representing contrasting views of life are his "Mother and 
child" — the happiness of life, and "The EgA^ptian widow" — hopeless sor- 
row. 

"He belongs to that rarer kind of sculptor w^ho makes one think 

He is a sculptor with temperament who goes his own way endeavoring 



176 

to express lovely and innocent and poetic feelings to the best of his 
ability though his chosen art." (Int. studio 52:xxi.) 

Newcomb, Maria GuISE^, (P.) b. New Jersey. Pupil of Edourd De- 
taille in Paris. She studied horses and dogs under Schenck the animal 
painter, and sheep with Chialiva and traveled in Algeria and the Sahara, 
studying the Arab and his horses. "Ver}- few artists can be compared 
with Mrs. Newcomb in representing horses. She has a genius for por- 
traying this animal and understands its anatomy as few painters have 

done." "Her studies in Paris were comprehensive and her work 

shows the results and places her among the distinguished painters of 
animals." (Women in the Fine Arts, p. 248.) 

The first picture that Miss Guise sent to the Paris salon was a golden 
haying scene with farmers and Brittany horses; it w^as accepted and 
Avell hung. Her greatest work, as she considers it, is entitled ''The work 
horses need" — ^the heads of four horses drinking from a street fountain. 
(American art and artists, p. 13.) 

Newell, George Glenn^ (P.) b. Berrien county, Michigan, 1870. 
Pupil of the National Academy of Design under Ward ; teachers college^ 
New York under Will S. Robinson. Member Salmagundi Club. Specialty,, 
landscapes and cattle. 

His best known paintings are: 

"Mists of the morning" "Through shower and sun" 

"The toilers" 

Neiy, Elizabetpi, (S.) b. in Westphalia, Germany, in 1830; d. Austin,. 
Texas, June 30, 1907. Studied art in Berlin and in Munich under Christ- 
ian Rauch. She lived for a time in Georgia, then settled in Texas. 

"Miss Ney was one of the most interesting characters as she was one 
of the best equipped of women sculptors. Nothing could be more roman- 
tic than the life of this gifted woman who was patronized by the "mad 
king" Ludwig II of Bavaria." 

Among the great men who sat to Miss Ney were von Humboldt, von 
Liebig, Jacob Grimm, Schopenhauer, Joachim, Garibaldi and Bismark. 
She also executed statues of Sam Houston and other noted Texan char- 
acters. 

Of her memorial to General Albert Sidney Johnston for the cemetery 

of Austin. "Tke-conception is viWd This is a work of high order, 

one of the most expressive and eminently sculptural con- 
ceptions among recent American ideals." (Lorado Taft's "History of 
American Sculpture," p. 214.) 



177 

KiCHOLLS, Mrs. Rhoda (Holmes), (P., I) b. Coventry, England. Pupil 
of Bloomsbui-y School of Art, London. Studied landscape in Rome with. 
Vertunni, and the human figure with Cannerano. While living in Italy 
her work attracted the attention of the queen who summoned her to 
receive compliments on her attainments. Three years later, she went 
to South Africa and returned to England with many canvases. Previous 
to this she had received recognition in England, her pictures having 
been hung on the line in Royal Academy exhibitions. In 1884 Miss 
Holmes married Mr. Burr H. Nicholls and immediately came to America. 

Her pictures are chiefly figure subjects, among which are "Those even- 
ing bells," ''The scarlet letter," ''A daughter of Eve," ''Indian after the 
chase," ''Searching the Scriptures." 

In the Studio, March 1901, in writing of the exhibition of the Amer- 
ican Water-color Society, the critic says : "In her two works, "Cherries" 
and ''A rose," Mrs. Rhoda Holmes Nicholls shows us a true water-color 
executed by a master hand." 

Mrs. Nicholls is also known as an illustrator; her work ranges all 
along the line of oil painting, water-colors, wash drawings, crayons, 
pastels. As a colorist she has few rivals and her acute knowledge of 
drawing and genius for composition are apparent in everything she 
does. 

"Quickness of conception, bold treatment and fine color mark all her 
work, while the wide reach of her subjects is remarkable." 

Mrs. Nicholls has been vice-president of the New York Water Color 
Club, member Women's Art Club, NeAv York, also of Canada ; member of 
Aquarelle Club, Rome. 

"At a recent exhibition held in Knoedler Galleries, New York, two 
canvases of Mrs. Nicholls' attracted attention. One was a slender girl 
holding a bowl of roses ; the other, a Venetian water-color sketch, "Gam- 
ins" lightly and delicately painted, yet full of expression and vivid effect 
of tones." (Giles Edgerton.) 

NiEHAus, Charles Henry^ (S.) b. Cincinnati, 0., January 24, 1855. 
Pupil of McMicken School in Cincinnati, also Royal Academy in Munich. 
He received a gold medal at Pan-American Exposition, Bufi'alo, 1901 ; 
was elected associate member of the National Academy of Design in 
1902; full member in 1906. 

While at the McMicken school he won the distinction of obtaining at 
the time of his matriculation a first prize, medal and diploma for a 
composition entitled "Fleeting time." After studying at the Munich 
Royal Academy he returned to Cincinnati and received commissions for 
statues of Garfield: one for Cincinnati, the other to be Placed in the 
rotunda of the Capitol, Washington, in the name of the State of Ohio. 
After successfully executing these commissions he returned to Italy, 
23 



178 

establishing a studio in Rome. Merit of the work done there brought 
about his election as a Fellow of L'Associazione della Artistica Inter- 
nationale di Roma. He has been a resident of New York since 1885. 

Mr. Mehaus has a pronounced leaning toward classic subjects. ''The 
Greek athlete using a strigil" is considered his best study of the nude. 
This work is known to the artist world as "The scraper" and is un- 
doubtedly, says Taft, ''one of the few good nude figures in American 
sculpture." 

He has made statues of many distinguished citizens of the United 
States, (the most celebrated being the bronze statue of McKinley in front 
of the stately mausoleum at Canton, Ohio), a pair of doors for Trinity 
Church, New York, done in high relief, equestrian statue of General 
Forrest for Forrest Park, Memphis, Tenn., contributed to the Library 
of Congress two figures, "Moses" and "Gibbon." Among his latest under- 
takings is a large nude figure, "The driller," an important feature of a 
monument at Titusville, Pa,, to the memory of Col. Edwin L. Drake, who 
sank the first oil well in Pennsylvania in 1859. 

Several critics have remarked that "the admirable breadth and smooth- 
ness of his treatment recalls the antique draperies in which the Greeks 
found delight." (Taft's History of American Sculpture.") 

NoRDFEiLDT, Bror J. Olsson, (P., E.) b. Scauia in the south of Sweden, 
1878. When thirteen years of age his parents came to America and 
settled in Chicago. He was put to work as printer's devil on a Swedish 
newspaper. At nineteen he took up the study of art in the classes of 
Frederick Richardson at the art institute; also studied drawing under 
John H. Vanderpoel. He became assistant of Albert Herter in painting 
mural decorations, and in 1900 went to Paris to study. His first effort 
was hung in the Paris salon of 1901. Also in the same year he had a 
product on the line at the Royal Academy, London. 

Mr. Nordfeldt Avas awarded a silver medal by the Italian government 
for an exhibit at the Milan Exhibition 1906. 

"He works directly from nature, composing his etchings or his canvas 
with the scene before him." His etchings "have been a surprise to his 
friends who have known his portraits, his landscapes and woodblock 
prints." 

The Provincetown series takes us among the boats along the water 
side with refiections out at sea. "Mothers" is an excellent composition 
including many figures and nursemaids in Washington Square; it re- 
calls groups familiar to that locality. 

NoBLB, John, (P.) His early life was spent in the Osage Indian 
Reservation, now a part of Kansas. After many adventures as a sheep- 
herder he found his way to the Cincinnati Academy to study art. From 



179 

there he went to Paris and studied under Laurens at Julien's. For 
nearly ten years he has lived in Brittany and painted the fisher-folk ; he 
is a member of the art colony near Etaples in the north of France. 

Clara T. MacChesney says : ''He generally sees nature in a mist of 

blue and rose He sometimes advances far into the field of the 

impressionist and gives us bold, crude decorative effects in direct con- 
trast to his more finished pictures." 

Of his ''Moonlight on the sea" enveloped in a fog, a French critic 
says : "An artist must be both painter and poet to bathe his pictures in 
an atmosphere so poetic and true. He has given with an infinite delicacy 

the pale, unreal light of the morning fog His technique is marvel- 

ously suited to the subjects he treats." 

NouRSE, Elizl^beth, (P.) b. Mount Pleasant, Cincinnati, O., 1860. At 
the age of thirteen she showed remarkable talent for painting and her 
parents sent her to the Cincinnati Art School. Later the family fortune 
was lost in a financial panic and she earned money to continue her 
studies in Paris by designing and decorating the interiors of homes in 
Cincinnati. At the age of eighteen she entered the Academic Julien. Her 
drawing was so good that Boulanger advised her to take a studio and 
work alone, that her style might develop uninfiuenced by academic train- 
ing. She followed his advice and the same year her painting "A mother 
and child" was accepted in the salon and hung on the line, an unpre- 
cedented honor for a new-comer. Today she is one of the strongest Amer- 
ican painters in Paris. 

When Puvis de Chavannes, Dagnan-Bouveret and others formed the 
Societe Nationale des Beaux Arts, Miss Nourse sent her pictures to the 
New Salon. They were received "with acclamation" and three years 
later she was made an associee. Puvis de Chavannes was the first to 
congratulate her; and when she was made a societaire in 1901, Dagnan- 
Bouveret, Cazin, Besnard, Rodin and others showered upon her congrat- 
ulations. Miss Nourse was the first American woman on whom this 
coveted honor was conferred. 

One of her happiest interpretations of a mother's joy in her children 
is her "Happy days" (owned by Detroit Museum of Art), and one of the 
most appealing canvases is "Thirst," now in a gallery in Rouen, France. 
*'Closed shutters" has been purchased by the French government for the 
Luxembourg. 

A. Dubuisson, a French art critic, says : "There is no painter who has 
reproduced better than Miss Nourse the naivete of a baby's attitude and 
the tenderness of motherlv love " 




ELIZABETH NOURSE. 



181 

Other characteristic paintings are : 

^'On the dyke" ''Among neighbors" 

^'Evening" ''In the country" 

"The Madeleine chapel at Pen- "The pardon of St. Francis d' 

march" Assisi" 

"In the sheepfold" "In the fields" 

"Good Friday in Rome" "The procession of Our Lady of 
"Morning toilet" Joy, Penmarch" 

"The first communion" "The close of day" 

"Little sister" "Grandfather's feast" 

"The children of Penmarch" "Consolation" 
"The family repast" 

Her pictures are not portraits of models, but types of human character. 
Some of her most beautiful pictures are landscapes of Brittany or bits in 
the old forest of Rambouillet, where she has spent many summers. In 
the oriental exhibition held in Paris in 1905, her sketches of African 
desert of Tunis held a place of honor. Years of study in Paris have 
broadened her technique — her brushwork has become more firm, her color 
more beautiful, but the character of her painting remains unaltered. 
^'She believes in art not alone for art's sake, but also for the sake of a 
humanity which it can uplift and spiritualize." (Int. studio 27:247.) 

Her goodness to her models is well known in Paris. A profound sym- 
pathy exists between her and the humble people whom she paints. 

Oakley, A^iolet, (Mural P., I.) b. New Jersey, 1874. Began her studies 
at the Art Students' League in New York; after studying a year with 
Carroll Beckwith she went to Paris and became the pupil of Aman-Jean ; 
she also was a pupil of Charles Lasar in England. Upon her return to 
the United States she settled in Philadelphia where she received instruc- 
tions from Cecilia Beaux and others. As her work led naturally toward 
illustration, she entered the class of Howard Pyle. 

In the illustrations for "Evangeline" published by Houghton, Mifflin 
& Co. in 1897 she and Jessie Wilcox Smith were collaborators, and in 
that color work came the first suggestion for stained-glass. 

In 1898 she executed mural decorations, a mosaic reredos and five 
stained-glass windows in the Church of All Saints, New York; has also 
designed and decorated a window in the Convent of the Holy Child at 
Sharon Hill, Pa. 

She has been a frequent exhibitor at the academy in Philadelphia with 
studies and compositions in color and in black and white and her window 
for the Church of the Epiphany in Boston was exhibited in New York 
before being placed. 



•182 

In 1893 Miss Oakley was commissioned to decorate the walls of the 
governor's reception room in the capitol at Harrisburg, Pa. This is the 
first work of its kind to be confided to an American woman. The decor- 
ations consist of thirteen decorative panels forming a frieze of heroic 
size. Under the title of "The founding of the state of liberty spiritual" 
they impressively record events in the life of William Penn. These de- 
signs were exhibited at the Pennsylvania Academy of the Fine Arts and 
they won for her a special gold medal from the academy. An art critic 
writing of this work, now completed, says that her grasp of the subject 
in union with great technical skill has placed Miss Oakley in the fore- 
most rank of American artists. 

Miss Oakley has been chosen to complete the important mural decor- 
ations in the capitol at Harrisburg, Pa., that were planned and begun 
by the late Edwin A. Abbey. She is now at work on her |20,000 painting, 
''The constitutional convention" for the new Cuyahoga county court 
house, Cleveland, Ohio. 

OcHTMAN, Leonard^ (P.) b. Zonnenmaire, Zeeland, Holland, October 
21, 1854. Came with his family to this country and settled at Albany^ 
N. Y. in 1866. At the age of sixteen he entered an engraving office as a 
draughtsman. A winter course at the Art Students' League of New York 
was practically the extent of his art education. His specialty — land- 
scape — was entirely self-taught. He first exhibited at the National 
Academy of Design, in 1882 and has since that time been a regular ex- 
hibitor at the art institutes and associations in the United States. 

In 1885 he traveled in England, France and Holland. 

Frederick W. Morton writes : ''He is the exponent of home — a home 

that he knows intimately and deeply loves He sees broadly 

and paints as simply and sympathetically The scenes he loves 

to depict are essentially idyllic." 

His "Night on the Mianus river," a prize picture, holds the spectator 
in a sense spellbound, as do his "The light of night," "An autumn moon- 
light," "Moonlight night" and other night scenes. "The enchanted vale" 
is one of his typical canvases — ^painted in the reds and yellows of early 
autumn. The same qualities are found in "In the mountains," "views 
from Woodwild," "Seaside farm," "Buds and blossoms." 

"If they (his pictures) could be translated into words, as expressive 
as are the artists' pigments, they would all have the simple rhythm, the 

grace and beauty of lyrics He has approached nature like an 

Inness." (Briish & P. 9:65.) 

Associate member of National Academy of Design 1898, full member 
1904. 



183 

OsTHAus, Edmund Henry^ (F.) b. Hildesheim, Germany, Au^st 5, 
1858. Studied art in the Royal Academy of Arts, Diisseldorf, 1874-82; 
pupil of Andreas Muller, Peter Janser, E. V. Gebhardt, E. Deger and C. 
Kroner (a noted landscape painter). Came to United States in 1883; 
was principal of the Toledo Academy of Fine Arts in 1886 ; now devotes 
his time to painting principalh' pictures of shooting and fishing, hunters 
and dogs. 

A born sportsman and a student of animals, explains his adoption of a 
specialty, and his study and life explain his art." 

'^One of the most successful painters of animals. He paints animals as 
they are in a natural environment. His dogs are in action or in char- 
acteristic attitudes; his canvases are for the most part skilful combin- 
ations of landscape and animal figure painting .... A careful draughts- 
man and a good colorist His works are documents of dog life." 

It is related that he commenced to draw as soon as he could grasp a 
pencil, and that he used the white pine floors (his mother's pride and 
despair) as material on which to express his j^outhful inspiration. 

The action and postures of his animals are those that can be properly 
termed characteristic. 

Favorite paintings: 

^'Slow music" "The leaders" 

"Stumped" "A first effort" 

"Full cry" "My old coon dog" 

"The dog's glory" "On the bay farm" 

(Brush & P. 18:81.) 

Otis, Amy, (Min. P.) b. Sherwood, N. Y. Pupil of Philadelphia School 
of Design and Pennsylvania Academy of the Fine Arts; also studied 
under Courtois and Garrido in the Colarossi Academy in Paris. Member 
Plastic Club, Philadelphia W/ater Color Club, Pennsylvania Society 
Miniattire Painters, Fellowship Pennsylvania Academy of the Fine Arts. 

Miss Otis has either drawn or painted portraits of many prominent 
persons, those of Dr. Horace Howard Fumess, Prof. Corson of Cornell 
University and Mrs. Julia Ward Howe being her best work. She has 
also done much in the line of landscape. 

Page, Walter Oilman, (P.) b. Boston, Mass., October 13, 1862. Was 
educated in the private schools of Boston. Studied art in Paris at the 
Academie Julien. Exhibited three years in the salons, also at leading 
art exhibitions in United States. 

Mr. Page was one of the founders of the first public school art league 
in the United States. 



184 

Palmer, Walter Launt, (P.) b. Albany, N. Y., August 1, 1854. Pupil 
of F. E. Church in Hudson, N. Y., Oarolus-Duran in Paris. Received 
second Hallgarten prize National Academy Design, 1887, and many 
medals and prizes since that time. Member National Academy, 1897. 
Specialty, winter landscapes. 

Charles C. Curran, former instructor at the Art Students' League, 
N. Y. writes: ''In Mr. Palmer's 'White world' we have a remarkable 
example of the transformation of a homely spot behind the old farm barn 
...... The sky is a story in itself, thin vapors taking on the color of the 

delicate morning sunlight " 

Rhoda Holmes Nicholls comments on the same painting: "Exquisite 
and tender as Walter Palmer's snow pieces always are, this one is per- 
haps more subtle than the rest. It» extreme simplicity is its most appeal- 
ing quality." 

Other fine examples of his painting are: 

"Morning light" "November snow" 

"Red barn" "The snow mantle" 

"Evening star" 

Pape, Eric, (P. I.) b. San Francisco, Cal., October 17, 1870. Pupil of 
Bcole des Beaux Arts, and of Gerome, Laurens, Blanc, Lefebvre, Bou- 
langer and Delance in Paris. The list of honors and medals and decor- 
ations that have come to Mr. Pape is said to be overpowering. 

Under the age of twenty, he entered the Academic Julien, Paris and in 
his examination for admission to the Ecole des Beaux Arts his drawing- 
was marked "No. 3," the competitors numbering several hundred. His 
first salon picture — ^"Zevener Spinnerin" — was exhibited when he was 
nineteen ; the following year he had three pictures and a bas-relief 
medallion at the same salon; has been a frequent exhibitor since. His 
largest and most important picture "The two eras" shared with another 
the chief attention in the salon of 1893. His first work in the illustra- 
tion line was executed for the Century Company when he was still in 
Paris. Upon his return to the United States in 1894 he made a large 
number of drawings for the "Life of Napoleon" published by the same 
firm'. Perhaps the most important single commission that he has per- 
formed was for Houghton, Mifflin & Co., in their exquisite edition of 
General Lew Wallace's "Fair God." His series of thirty-five water-color 
drawings made in illustration of "The life of Mahomet" in 1900 is well 
remembered, as are the illustrations for an edition de luxe of Hawthorne's 
"Scarlet letter" published in 1905. "The romaunt of the oak" is one 
of a group of paintings to adorn a five-volume edition de luxe of the 
jjoems of his personal friend Madison Cawein. 

Mr. Pape spent several years in Egypt studying the ancient people and 



185 

typical architecture. ''The romantic, the archaic and the mediaeval are 
attractive to him, the sumptuous, the oriental and the pageantry of bar- 
baric splendor." 

He conducts the Eric Pape Art School, Boston, and his wife who was 
Miss Alice Monroe, a skilful artist, was his assistant in this school until 
her death May 17, 1911. (New Eng. M. 39:455.) 

Parkeir, Edgar^ (P.) b. Framingham, Mass., 1840. Spent his pro- 
fessional life in Boston. Had no instruction in painting. Three of his 
portraits are in Faneuil Hall — Charles Sumner, Henry Wilson and Rear 
Admiral John A. Winslow. 

Whittier gave him sittings in 1875 for a portrait which is the only 
original likeness of that great poet in existence, excepting one by Hoyt, 
painted in Whittier's youth. 

He painted the popular ''Embarkation of the pilgrims" after a paint- 
ing by Robert Weir. 

Parker, Lawtoin S., (P.) b. Fair-field, Michigan, August 7, 1868. When 
a young boy he won a prize offered for the best drawing by a person who 
had no artistic instruction, and a member of the jury was so impressed 
by the effort that he offered young Parker free instructions if he would 
come to Chicago. The boy eagerly accepted the offer and soon won a 
scholarship at the Art Institute. In Paris he was instructed by Gerome, 
Laurens, Benjamin-Constant, Besnard and Whistler. Mr. Parker be- 
came director of art at Beloit College in 1893 ; president of the New York 
School of Art in 1898 and president of the Chicago Academy of Fine 
Arts in 1903. 

While studying in Paris Mr. Parker received honorable mention in the 
salon of 1900 ; two years later he won the third medal and in 1905, the 
gold medal at the International Exposition at Munich. 

A great distinguishing^ honor came to Mr. Parker when in 1913 the 
Societe des Artistes Francais awarded him the gold medal. This is the 
highest award of the Old Salon and he is the first foreigner upon whom 
it has ever been bestowed — an American, and a western American at 
that. 

''The quality in his w^ork which has called forth particular praise from 
critics is its luminousness ; it is emphatically what the French call plein- 
air, full of the atmosphere of summer months spent near the little vil- 
lage of Giver-ny, of its opalescence and shimmering greens against which 
the figure stands." (Outl. 107:55.) 

Parrish, Maxfie;ld> (I., Mural P.) b. Philadelphia, Pa., July 25, 1870. 
Son of Stephen Parrish who is a painter and etcher of ability. Gradu- 
ated at Heverford College and then entered the Pennsylvania Academy 



186 

of the Fine Arts; after this he studied under Howard Pyle at Drexel 
Institute. Received honorable mention at the Paris Exposition, 1900 ; 
silver medal for drawing at the Pan-American Exposition, 1901. Member 
of Society of American Artists, 1897; associate member of the National 
Academy of Design, New York 1905 ; full member in 1906. 

After living in England and France for several years he returned to 
the United States. Mr. Parrish has become celebrated as an illustrator 
but his first productions Avere of a decorative character. The first work 
to bring him into prominence was a cover design for the Christmas num- 
ber of Harper's Weekly, 1895. In 1894 he was elected a member of the 
Society of American Artists on his pictures "The sandman" and "The 
bulletin board." He has contributed designs for Century Magazine, Har- 
per's Weekly, the Round Table, Scribner's Magazine and the Book Buyer; 
illustrated Kenneth Grahame's "Golden age," Irving's "History of New 
York," Eugene Field's "Poems of childhood," Edith Wharton's "Italian 
villas and their gardens," R. Stannard Baker's "Great northwest" and 
"Great southwest." 

"Mr. Parrish is at his best in color. His palette is rich and full; his 
use of color strikingly effective, both as a means of artistic and of poetic 
expression .... His imagination finds expression not only in warm, rich 
tones and a glow of color, but when other ends are sought it employs 

the most subdued effects, and at times it rests on etnpty space Mr. 

Parrish is one of those rare illustrators who never disappoint. There 
is always something to admire in his work, and in most of his pictures 

a cause for genuine delight His pictures and decoration have a 

distinct place of their own in modem American art." (Outl. 78:839.) 

"A calm completeness and faultless finality are in everything he does. 
His color schemes are as synthetic and clearly understood as his archi- 
tectural settings." (Tnd. 59:1398.) 

"Decorative it is to exaggeration and whimsical and quaint and so in- 
dividual as to be personal — but withal so full of humor and sentiment 
as to make genial its Gothic spirit." 

Mr. Parrish has made the mural decorations for the Curtis Publishing 
Company of Philadelphia in their new building. This series is on the top 
floor and is by far the finest thing he has ever done. There are seven- 
teen paintings. Sixteen of these occupy the space between the windows 
and form a sequence of glimpses of an architectural garden-terrace and 
above the terrace may be seen vistas of a wonderful turquoise sky, 

through the branches of venerable and fantastically gnarled cedars 

A carnival is depicted in the last panel and shows the loggia of an 

Italian palace The drawing is at once masterful and exquisite 

Each figure is a study in itself Of the color what can be 

said other than what has been said above — that it is like a painting of 
Maxfield Parrish. (Int. studio 47:xxv.) 



187 

Pareish, Stephein, (E., P.) b. Philadelphia, Pa., July 9, 1846. After 
the age of thirty-one he applied himself to art, studying nnder a local 
teacher; took up etching and produced his first plate in 1879. Has ex- 
hibited in New York, Boston, Philadelphia, A'ienna and Dresden. Is a 
member of the Eoyal Society of Painter-Etchers, London. 

Mr. Parrish takes the very first rank in American etching. He has 
experimented widely with his art, especially in the matter of sky treat- 
ment. 

Exhibited ^'Evening, low tide'' in the salon of 1885, and "On the Ranee, 
Brittany" in 1886. Koehler says that Stephen Parrish's ''Annisquam" 
is a convincing argument that the etching process is fitted to express 
broad sunlight as well as twilight effects. 

Among his best prints are : 

'The shepherd's Christmas eve*' "Fishermen's houses, Cape Ann" 
"Old fish-house" "Coast of New Brunswick" 

"Low tide, Bay of Fundy" "Midsummer twilight" 

Parton, Arthur, (P.) b. Hudson, N. Y., March 26, 1842. Began to 
draw and paint while still a schoolboy and early entered the studio of 
AYilliam T. Richards in Philadelphia; also attended the Pennsylvania 
Academy of the Fine Arts. Spent a year in travel and study in Europe 
in 1869. Returned to New Y^ork. Associate member National Academy 
of Design, 1872; academician, 1884. 

The works that brought him prominently before the public were "On 
the road to Mount Marcy," "A mountain brook," "Sycamores of old 
Shokan," "Delaware river near Milford," "Nightfall," "The morning 
ride," "Winter on the Hudson," "Evening, Harlem river." 

His "November," "LochLomond," "Solitude," and "Stirling Castle," 
(four splendid pictur-es) attracted nLuch attention at the Centennial Ex- 
hibition of 1876. It was this group that gave a national scope to his 
reputation. 

Paulus, Francis Petrus, (P., E.) b. Detroit, Michigan, 1862. Studied 
first at the Pennsylvania Academy of the Fine Arts in Philadelphia, then 
under Bonnat in the Ecole des Beaux Arts, Paris, and Prof. Loefftz in 
Munich; finalh' traveled and studied in Italy, Portugal, Holland and 
Belgium. He is a member of the Internationale Societe de la Gravure 
Originale en Noir of Paris, Munich Society of Etchers, and was one of 
the founders of the Society of Western Artists; has received recog- 
nition and honors at the salons in Brussels, Antwerp, Ghent and Paris, 
and his works are equally well known in America. 

Mr. Paulus was a teacher of art in Detroit for some years, but a few 



188 

years ago he, with, his charming wife, took up residence in the old city 
of Bruges, where he has made great use of the material there offered. 

^'Mr. Paulus finds a special fascination in sunlight, moonlight and fire- 
light, and perhaps he is never better than when he introduces the con- 
flicting lights of sunlight and artificial light as in his clever picture 
called "The forge" in which he reveals himself as a master. 

''In his love of light he resembles Rembrandt. Mr. Paulus is frankly 
an impressionist, and a believer in the supremacy of a great idea over 
technique." 

A portrait of Mrs. Paulus won great praise when exhibited in the salon 
of 1904. The most interesting portrait he has ever painted — that of his 
friend, Alfred Gilbert, the English sculptor — hangs in his studio. One of 
the finest pictures Mr. Paulus has painted is "The house of the lowly." 
^'The golden curtain" is a homely subject exquisitely treated, showing a 
group of busy peasant women working at the washtub. The light coming 
through the yellow cur*tain illuminates the clouds of steaming vapor ana 
the women intent upon their work. 

On "The old market," I. G. McAllister comments: "It is a grand 
example of what Mr. Paulus delights in painting, a subject vibrating with 
life and movement." 

"Work and gossip" gleams with the brilliant life of southern latitudes. 
The entire scale of color is given in remarkable gradations of tone." 

Mr. Paulus is wide in his range of subjects from portraits to charming 
interiors, landscapes, subject pictures and pastels. 

He has never chosen the hackneyed sensational subjects likely to appeal 
to the public. (English 111. M. 47:411.) 

"He has an unusual gift of the power of penetration into the deeper 
meaning and poetical side of his subjects so that the homeliest theme is 
invested with a dignity and grace under his hand and realism is never 
allowed to master refinement of treatment." (Int. studio 46:141.) 

Paxton, William McGregor^ (P.) b. Baltimore, Md., June 22, 1869. 
Pupil of Ecole des Beaux Arts under Gerome in Paris ; Denis M. Bunker 
in New York. 

Received honorable mention at Pan-American Exposition, Buffalo, 
1901 ; bronze medal at St. Louis Exposition, 1904. A teacher. 

Among his recent works which have been notable are: 

"A string of pearls" "At the telephone" 

"The white sunshade" "The huntsman" 

"The bride" 

Frederick W. C'oburn, New England Magazine 39:37, says: "Mr. 
Paxton became an interesting figure in American art a few years ago 



180 

when it was announced that he takes account in his painting of the 
facts of binocular vision. It was observed during his large exhibition 
at the St. Botolph Club, Boston, in the winter of 1905, that he had under- 
taken to render nature as seen with both eyes, instead of as nearly every 
other painter has done, as seen with only one eye. A certain doubling of 
vertical lines, in other words, that are visible just outside of the visual 
focus has ordinarily been presented, if at all, simply by a device of 
blurring or low^ering the tone of accessories. Mr. Paxton, so far as I 
know, was the first painter to render naturalistically this overlapping of 
inmges in such a manner as largely to increase the optical illusion . . . ." 
''Velasquez, Vermeer, Gainsborough and Ingres seem to be Paxton's 
masters so far as he is indebted to the past. As to affiliation with 
present day artists he stands somewhat aloof, although generally ac- 
cepted as one of the ''Boston impressionists." 

Peiale, Charles Watson, (P.) b. Chestertown, Md., April 16, 1741; d. 
Philadelphia, Pa., February 22, 1827. At thirteen he was apprenticed to 
a saddler and afterwards established himself in the business. Becoming 
interested in art he took lessons from a German painter to whom he gave 
a saddle for the privilege of seeing him paint. Influential friends pro- 
vided the funds necessary for him to go to England to continue his art 
studies. He studied under John Singleton Copley at Boston and in 1770 
went to London and became a pupil of Benjamin West. Returning to 
the United States he established himself in Philadelphia in 1776. He 
commanded a corp^ of volunteers in the revolutionary war, became in- 
terested in politics and later lectured on natural history ; was one of the 
founders of the Pennsylvania Academy of the Fine Arts at Philadelphia 
in 1805. 

His fame rests mainly on his achievements as a por-trait painter and 
the circumstances of his association with Washington, Avho gave him 
fourteen sittings. ''He was the only portrait painter at that time and 
his genius was in great demand." 

The first of the fourteen portraits of Washington by Peale was in the 
uniform of a Virginia colonel and is the only one now extant of those 
painted before the revolution and is highly valued as the first authentic 
likeness of him. 

His portraits gathered in Independence Hall, Philadelphia — one hun- 
dred and seventeen — include most of the celebrities, native and foreign, 
associated with American history and society. 

"His likenesses," says his son Rembrandt, 'Vere strong but never flat- 
tered; in execution spirited and natural." 

Pearcei, Charleis Sprague, (P., Mural P.) b. Boston, Mass., October 13, 
1851 ; d. Paris, May 18, 1914. Certain success as an amateur painter 



190 

led him to regard art as a possible profession and after five years in 
mercantile business he took up painting as a profession. He went to 
Paris in 1873 and entered the school of Leon Bonnat, where he remained 
three years. 

Ill-health made it advisable for him to pass the winters in a warmer 
climate and he visited Egypt, Nubia, Algeria, Italy and southern France. 
Since 1885 he has lived at Auvers-sur-Oise. His first painting publicly 
exhibited was shown at the Paris salon of 1876. 

He has received prizes and medals from exhibitions and salons in the 
United States and Europe .and been accorded the distinction of an elec- 
tion as a member of the Order of Dannebrog, Denmark, Order of the Ked 
Eagle, Prussia, Order of Leopold, Belgium, and chevalier of the Legion of 
Honor, France; is a member of the Paris Society of American Artists 
and of the National Academy of Design, New York. 

He has painted portraits and figure subjects but has made his greatest 
success picturing the rustic landscape and the peasants of northern 
France. 

"His shepherdesses, peasant girls and women chopping wood or mind- 
ing their herds are the work of a man who acquired forcible technique 
under Bonnat and studied Bastien-Lepage with understanding." 
(Muther.) 

"The shepherdess" is probably his masterpiece. 

Other Avorks are: 

"Across the commons" "Abraham's sacrifice" 

"Death of the first born" "Pet of the harem" 

"Beheading of Saint John" "Water carrier" 

"Prelude" "Toiler of the sea" 

"Return of the flock" "Evening" 

"Saint Genevieve" "The shawl" 
"Un chemin a Auvers-sur-Oise" 

Peixotto, Ernest Clifford, (P., I., Min. and Mural P.) b. San Fran- 
cisco, Cal., 1869. Pupil of Benjamin-Constant, Lefebvre and Doucet in 
Paris. Received honorable mention in the Paris salon of 1895. Elected 
associate member of the National Academy 1909. Instructor in the Art 
Institute, Chicago, 1907-8. 

Has illustrated Henry Cabot Lodge's "Story of the Rebellion ;" Roose- 
velt's "Life of Cromwell," Hemstreet's "Nooks and corners of old New 
York" and numerous articles and stories in current magazines. ' 



191 

Pbnfold, Frank C, (P.) b. Buffalo, ^. Y. Keceived honorable mention 
in the Paris salon of 1889 and honorable mention at the Pan-American 
Exposition, Buffalo, 1901. 

A good specimen of his work is ''Stormy weather, Xorth Sea." 

Pe^^nell, Joseph, (I., E.) b. Philadelphia, Pa., July 1, 1860. He w^as a 
pupil in the Peunsjlyania Academy of the Fine Arts and his unusual 
abilit}^ in etching was early recognized by his instructor, James L. Clag- 
horn. He has won honorable mention and medals at Philadelphia, Chi- 
cago, Paris and elscAyhere and has acquired no small measure of fame as 
a public lecturer and as a critic and author. Associate member National 
Academy of Design, 1907; full member, 1909. 

Mr. Pennell is represented in the Luxembourg Gallery, Paris, Cabinet 
des Estamps, France, Uffizi Gallery, Florence, Modern Gallery, Venice, 
Berlin National Gallery, Dresden, Buda-Pesth, South Kensington gal- 
leries and in many collections in the United States. 

As an illustrator for a time he worked in Xew Oreleans in collabora- 
tion with Cable, the novelist; in 1881 he went to Europe to illustrate 
some of the Italian writings of W. D. Howells. Here he received recog- 
nition from Philip Gilbert Hamerton who secured his services in illus- 
trating a book on a tour along the Kiver Saone. ''The fame of his work 
soon brought him all the commissions he wished, and he collaborated 
with Henry James, Justin McCarthy and Sir Walter Besant in illus- 
trating the picturesque streets and buildings of London; with Andrew 
Lang in doing the same service for Edinburgh; with Mrs. Schuvler Van 
Rensselaer in portraying the majesty and beauty of the English cathed- 
rals; with his wife Elizabeth Bobbins Pennell in recording the charms 

of European travel His drawings are legion in number and must 

be seen to be appreciated. His etchings (he has destroyed all his early 
plate>s to pi'event inferior prints from worn-out plates finding their way 
into the market), mn up into the hundreds and have an average ex- 
cellence rarely maintained by a devotee of the needle; his Philadelphia, 
Xew Oreleans, Italian and London series, all have their own charm and 
their own excellence." 

"No American illustrator has won for himself a more enviable fame 
than Joseph Pennell. His art is unique, peculiarly his own. As a 
draughtsman the world has produced few equals and no superior. With 
rare exception everything he has done has in an eminent degree, the 
quality of the artistic." (Brush & P. 12 :81.) 

"As Gibson is the leader among figure draughtsman, Pennell is the 
leader among landscape draughtsmen." (Ernest Knaufft.) 

"Among modern etchers there are few whose work so consistently 
show the characteristic touch of a master etcher as does the work of 



192 

Joseph Pennell. It has been said that he is the greatest of contemp- 
orary etchers." (Ganad. M. 38:334.) 

Hans Singer writing in the International studio says that he person- 
ally places Pennell's architectural etchings even above Whistler's. 

Mr. Pennell's latest work is a series of twenty-three lithographs of the 
Panama Canal. 

The Italian government has just purchased for the Uffizi gallery, Mr. 
Pennell's lithographs of the Panama Canal, of the Grand Canyon and the 
Yosemite. It is the first time lithographs have been acquired for the 
Uffizi and confers distinction upon this popular American artist. 

Perrault, I. Marie^ (P.) b. Detroit, Mich. Studied at the Detroit 
Museum of Art School and for the past seven years in Paris, The Hague 
and Brussels. 

Mrs. Perrault's work is very well thought of in Holland and she is 
w^ell represented in the collections of that country. She is pre-eminently 
a painter of children, her later work being influenced by Carriere. 
Member of several art clubs abroad. 

Her best works are: 

''Maternite" ''The dream" 

^'Springtime" ''The yellow flower" 

At a special exhibition of her paintings and sketches held in Detroit, 
Michigan, October, 1911, Mrs. Perrault was represented by thirty -five 
interesting and characteristic canvases. 

PiCKNELL, William Lamb, (P.) b. Hinesburg, Vt., October 23, 1854; d. 
Marblehead, Mass., August 9, 1897. Went to Europe in 1874, studying 
with George Inness in Rome, later for a few months under Gerome in. 
Paris. From France he Avent to England and for a number of years was 
an exhibitor at the Royal Academy, London; also lived and painted in 
Brittany, working under Robert Wylie until the death of that artist. 

Received honorable mention in the Paris salon of 1880 ; awarded 
medals in Boston, Mass., 1881 and 1884; won Lippincott prize, Pennsyl- 
vania Academy of the Fine Arts, 1896. 

Member of the Society of American Artists, New York, and the Society 
of British Artists, London; associate member of the National Academy 
of Design, New York, 1891. 

Mr. Picknell is represented in the Luxembourg, Paris, Institute of 
Arts and Sciences, Brooklyn, Metroi>olitan Museum of x\rt. New York, 
Boston Museum of Art and Carnegie Art Gallery, Pittsburgh. 

The first picture to bring him recognition and standing as a painter 
was his "Route de Concarneau" painted at Pont Aven, Brittany. His 



193 

^'Breton peasant girl feeding- ducks" Avas exhibited at the Koyal Academy, 
London, 1877, and ''The fields of Kerren" received honorable mention in 
the salon of 1878. '^Wintry March" was purchased for the Walker Art 
Gallery of Liverpool and hung in the apartment occupied by Queen Vic- 
toria on her visit to that city. ''On the borders of the marsh" was one 
of the first pictures purchased by the Pennsylvania Academy of the Fine 
Arts and ''A toiler of the sea" was the first picture bought for the 
Carnegie Art Gallery, Pittsburgh. His marine "Plowing deep while 
others sleep" won the £100 prize of the Society of British Ar-tlsts. 

The French and English critics gave unstinted praise to the strength 
and distinction of his pictures. 

"Art to him was holy; there must be no hypocrisy, no shirking, no 
secrets. All his knowledge he was eager to impart without price " 

An Italian gentleman and painter paid this tribute to him : "It is the 
sad privilege and prerogative of such natures to leave darkness where 
their spirit threw light, for he was one of those enthusiasts in the 
etymological sense of the word, possessed, carrying with them a powers — 
a god if you like — and such guests are felt even in ordinary surround- 
ings." (Cent. n. s. 40:710.) 

Notable examples of his art are: 

"A stormy day" "Among the olives" 

"Coast of Ipswich" "A gray morning, Moret" 

"Sunshine and drifting sand" "Late afternoon, Moret" 

"A sultry day" "Morning on the Loing" 

"After the storm" "Morning on the Mediterranean" 

"The edge of winter" "Twilight on the Mediterranean" 

"Where broad ocean leans "Mid- winter on the Litorel" 
against the land" 

"Picknell does not compose pretty scenes, but he drives home the facts 
of his subject Avith sledgehammer blows. He is a sort of second Courbet 
in his strength and in his virility." (New Eng. M. 14:148.) 

"Picknell made extensive use of the palette knife, gaining thus some- 
thing of the purity of tone, the vibration and the marvelous amount of 
atmosphere that distinguished many of his canvases." 

Pitts, Lendall. (E.) b. Detroit, Michigan, November, 1875. Pupil of 
Jean Paul Laurens in Paris. 

E. A. Taylor in AAriting of American etchers (Studio special number), 
says : "In color, American etchers Avith but few exceptions have not 
shown any notable examples, the most distinctly personal and interest- 
ing results yet attained being those by Lendall Pitts, who exhibited some 
remarkable results of his experimental achieA^ements in the St. Louis 
25 



194 

Museum of Fine Arts in 1908. In his studio in Paris he works heedless 
of recognized methods and public appreciation, producing many little 
masterpieces with delightful simplicity. ''Sunset on the lake," ''Castle 
of Sigiienza, Spain" and "The cascade" are unique illustrations of his 
color-etching and aquatint." 

Platt, Alethea Hill, (P.) b. Scarsdale, N. Y. A pupil of Henry B. 
Snell, Ben Foster and Art Students' League, New York. She received 
first prize for water color New York Woman's Art Club, 1903, and is a 
member New York Woman's Art Club, Pen & Brush Club, National Arts 
Club, and New York AVater Color Club. 

In writing of the exhibition of the New York Water Color Club, 
Palette and Bench, February 1910, has this: "The 'scrub method' orig- 
inated by Mr. Henry B. Snell was well represented by one of his ablest 
pupils, Miss Alethea H. Platt in her fine interior, "An old world kitchen" 
There are some delicious bits of color in this old kitchen scene." 

The art critic of one of the New York papers writes : "One of the 
most interesting displays is made up of thirty paintings by Miss Alethea 
Hill Platt in the Powell gallery. The artist presents scenes from the fair 
land of Devon and from the coast of Brittany. Charming interiors 
showing the homely life of the peasantry on both sides of the channel, 
of w^hich Miss Platt has made a specialty in her European sojourns, are 
already well known. 

"There is something entirely new, however, in several landscapes which 
she shows. They are brilliant in tone but true to the colors found in sky 
and plain and vale. Those familiar with her earlier work will be deeply 
interested in the new departure as revealed in "The sunlit moor," and 
"Tors on Dartmoor," which are bathed in the soft airs of England. A 
water color "A Moorland shepherd" represents a herdsman returning at 
eventide to his cottage and there is wonderful charm and feeling in this 
peaceful bit of rural England, which includes his cottage and its sur- 
roundings." 

Pope, Alexandeor, (P., S.) b. Boston, Mass., March 25, 1849. At the 
age of seven he did creditable work in sketching animals, and was self- 
taught with the exception of instruction in perspective drawing and 
anatomy from Dr. Rimmer. At twenty he was a devotee of wood-carving 
and modeling. He originated painted game birds carved out of pine wood, 
two of them being purchased by the Czar of Russia. Later he was ambiti- 
ous to become a sculptor. His first notable canvas was "Calling out the 
hounds," and his two most noted pictures are his "Mart\'rdom of St. 
Euphemia" and his "Glaucus and the lion" (taken from Bulwer's ''Last 
days of Pompeii"). 

One of his most realistic productions is the painting of a white swan 



195 

lianging to a door. "Just from town" shows two peacocks and is one of 
Ids simplest and most pleasing paintings. ( Brush & P. 8 :105.) 

Mr. Pope's portraits of dogs have won for him the title "American 
Landseer/' and his lions and horses have brought him an even wider 
reputation. 

Supplementing the fundamental grounding he received from Dr. Rim- 
mer bv individual study and constant practice, he haunted stables, 
aviaries and kennels and spent much time in the zoological gardens of 
New York and Philadelphia; also at Bridgeport, Conn., when Barnum's 
winter headquarters were there, where he especially studied and sketched 
lions. 

Mr. Pope has published a series of game bird plates entitled, "Upland 
game birds and water fowls of the United States," also "Celebrated dogs 
of America." 

Potter, Edward Clark, (S.) b. New London, Conn., November 26, 
1857. He was educated at Amherst College; studied sculpture under 
Mercie and Fremiet, Paris, 1888-9; has been a member of the National 
Academy of Design, New York, since 1906. 

Mr. Potter's first prominence was due to his collaboration with Mr. 
Daniel Chester French at Chicago in 1893 where their Columbus Quad- 
riga and other groups were among the most admired of the many decor- 
ations. 

Lorado Taft says it is probable that no American sculptor knows the 
horse quite so well structurally, as does Mr. Potter. 

Mr. Potter has not restricted himself, however, to animal sculpture nor 
to partnership enterprises. His delightful little "Sleeping faun" is in 
the Art Institute of Chicago ; his Governor Blair of Michigan stands in 
an admirable repose before the state capitol at Lansing. His equestrian 
statue of General Slocum on the battlefield of Gettysburg is considered a 

striking portrait "There is no more impressive sculpture upon the 

famous battlefield." (Taft's "History of American sculpture.") 

Mr. Potter has also executed two noteworthy bas-reliefs of Dante and 
Savonarola. 

Potter, Louis, (S., E.) b. Troy, N. Y., November 14, 1873; d. Seattle, 
Wash., August 29, 1912. He graduated at Trinity College, Hartford, in 
1896, and received first instructions in art from Charles Noel Flagg. In 
1896 he went to Paris and remained there for three years, studying paint- 
ing under Luc-Olivier Merson and modeling under Jean Dampt. His 
first exhibition was a bust of Boutet de Monvel. 

Mr. Potter spent some time in Tunis and while there was commissioned 
to represent Arab life at the exposition. For this service the Bey con- 
ferred upon him a decoration of Ofiicer du Nichani Iftikar or "Order of 



196 

Renown." After his return to the United States he devoted himself to 
distinctively American subjects. The Indians, particularly, both Alaskan 
and American, became one of his favorite subjects. 

Mr. Potter took up the investigation of the occult science for the pur- 
pose of arriving at some higher spiritual insight. This he abandoned 
declaring the practice of no value, possibly harmful. 

"The earth man" and "The earth's unfoldment" were accepted unani- 
mously by the French salon of 1912. "The man" is groping for light; 
this is realized in the "Earth unfoldment" — the spiritual awakening of 
the woman. (Int. studio Nov., 1912.) 

PoTTHAST, Edward Henry, (P., I., Mural P.) b. Cincinnati, O., June 
11, 1857. Pupil Cincinnati School of Fine Arts. Studied in Antwerp, 
Munich and Paris. Won Clarke prize N. A. D., 1899; also several gold 
and silver medals. Member Society American Artists ; associate member 
National Academy, 1899; academician, 1906. 

Powell, William Henry, (P.) b. New York, February 14, 1823; d. 
New York, October 6, 1879. 

He began the study of art under Henry Inman in New Y^ork City in 
1843 and continued his studies in Paris and Florence. He first exhibited 
at the National Academy of Design, New York, in 1838; was elected an 
associate member of the academy in 1854. 

Probably no historical work of art is more familiar to the American 
people than his painting, "The battle of Lake Erie." It was originally 
executed for the state of Ohio at a cost of |10,000. In 1873 Mr. Powell 
reproduced the work on a larger canvas for the national government and 
tliis painting now hangs in the senate wing of the capitol at Washing- 
ton, I). C. 

Other historical paintings are : 

"DeSota discovering the "Landing of the Pilgrims" 

Mississippi" "Washington at Valley Forge" 

"Siege of Vera Cruz" 

He also produced famous portraits of Albert Gallatin, Peter Cooper 
and Washington Irving. His portrait of General McClellan and that of 
Major Anderson are in the city hall. New York. 

Pratt, Bela L., (S.) b. Norwich, Conn., December 11, 1867. At the 
age of sixteen he entered the Yale School of Fine Arts where he studied 
under Profs. Neimeyer and Weir. In 1887 he entered the Art Students^ 
League of New York, continuing his studies under Saint Gaudens, El well, 
Chase and Kenyon Cox. He went to Paris in 1890 where he studied 
under Chapu and Falguiere. While in the Ecole des Beaux Arts he 



197 

received three medals and two prizes. In 1892 he returned to the United 
States; was commissioned for two colossal groups on the water gate of 
the Peristyle at the Columbian Exposition, 1893, and in 1805 and 1896 
he shared in the decorations of the Library of Congress, Washington, 
D. C. Mr. Pratt's contributions to the Pan-American Exposition were 
numerous and certain of them of great beauty. He has produced many 
works in sculpture, statues, memorials, groups, tablets, busts, medallions, 
etc. 

Kecent works are, "Spanish war soldier," at St. Paul's school, Con- 
cord, N. H. ; "Andersonville prisoner boy," erected at Andersonville, Ga., 
by the state of Connecticut ; "Barefoot boy" mounted on a native boulder 
in the town of Ashburnham, Mass.; "Peace and War" for the Butler 
memorial at Lowell, Mass.; "Nathan Hale," at Yale University; and 
^^The whalemian" for the monument to native seafarers erected at New 
Bedford, Mass., in 1913. 

"Spirit and action characterize the stalwart figure of a New Bedford 
whaleman who is portrayed with long harpoon poised in the air, and 
standing in a whale boat dashing through the surf, in pursuit of some 
great leviathan of the deep." 

"The sculptor is revealed at his best in the full-length figure of 'Youth' 

fraught with charm and the naivete of tender years He is gifted 

with unusual feeling for his subjects, has imagination and is a subtle 
draughtsman. His art accords him a foremost place with illustrious 
American sculptors of today." (Arch. rec. 35:508.) 

Three large decorative panels, 11x4 feet each, for the facade of the 
Opera House, Boston, are interesting examples of Mr. Pratt's art. They 
are molded in blue and white terra cotta, after the Delia Robbias, and 
form a frieze just beneath the cornice. The subjects are "Music," 
^^Drama" and the "Dance." 

"Music" is one of the most effective panels in the series and is poetic 
in conception and subtle in modeling." 

As a sculptor Mr. Pratt has made portraits of many eminent person- 
ages identified with the history of New England. 

In 1910 he was made an associate member of the National Academy of 
Design. 

Prellwitz, Edith Mitchei.l (Mrs. Henry Prellwitz), (P.) b. South 
Cirange, N. J., 1865. Pupil of Art Students' League of New York under 
George de Forest Brush and Kenyon Cox; Academic Julien in Paris 
under Bouguereau, Robert-Fleury and Courtois. 

Received second Hallgarten prize in 1894 for her "Hagar and Ishmael ;" 
Dodge prize in 1895; bronze medal at Pan-American Exposition, Buffalo, 
1901. Elected associate member of the National Academy of Design, 
New York, in 1906. 



198 

Prellwitz, Henry, (P.) b. New York, 1865. Pupil of T. W. Dewing 
and Art Students' League of New York; Academie Julien in Paris. 

Received third Hallgarten prize National Academy of Design, 1893 ; 
bronze medal Pan-American Exposition, Buffalo, 1901 ; medal St. Louis 
Exposition, 1904 ; Clark prize. National Academy of Design, 1907. 
• Member of the Society of American Artists, 1906. Instructor in life 
drawing and painting at Pratt Institute, Brooklyn, N. Y. 

Elected associate member of the National Academy of Design, New 
York, 1906. 

Preston, Mary Wilson (Mrs. James Preston), (I.) b. New York^ 
August 11, 1873. Educated at Oberlin College. Studied art in New York 
art schools 1896-7; Whistler School, Paris, 1899-1900. Began illustrating 
for magazines in 1902. Has illustrated: 

''Seeing France with Uncle John" ''The incubator baby" 
''The smugglers" "The diary of Delia" 

Proctor, Alexander Phimister, (S., P.) b. Bozanquit, Ont. Canada^ 
September 27, 1862. Pupil of National Academy of Design and Art 
Students' League in New York ; Puech and Injalbert in Paris. 

Received gold medal for sculpture and bronze medal for painting at St. 
Ijouis Exposition, 1904. Elected member of the National Academy 1904. 

For years Mr. Proctor was a huntsman, living in the Rocky Mountains 
where he made a study of wild animals. Realizing that he needed better 
training in 1887 he went to New York and entered the classes of the 
National Academy. Being awarded the Rinehart scholarship he went to 
Paris for five years' study in technique. 

At the Paris Exposition 1900 Mr. Proctor's well known panthers kept 
guard at the entrance on the Place de la Concorde. His "Bison" shows 
evidence of the sculptor's close observation and acute sense of the ani- 
mal character, as do his "Fawn," "Bear" and "Striding panther." 

Of his famous bison, Mr. William Walton says: "To the formidable 
bulk and weight and strength which are this animals obvious monumental 
qualities the sculptor adds an action, an alertness, head and tail up, 
also founded on truth, which gives him that air of power and: menace 
necessary to symbolic animals." (Scrib. M. 55:666.) 

Mr. Proctor is represented in public parks, New York, Denver, Pitts- 
burgh, Buffalo and other cities of the LTnited States. 

Pyle, Howard, (P., I., Mural P.) b. Wilmington, Delaware, March 5, 
1853 ; d. Florence, Italy, November 9, 1911. Was educated in private 
schools and in the Art Students' League of New York ; an instructor at 
the Drexel Institute, Philadelphia, a member of the National Institute 



199 



of Arts and Letters, associate memfcer of the National Academy of De- 
sign, 1905, academician, 1907. 

At first being nnsnccessfnl in art he went into business, but some of 
his drawings finally being accepted by a magazine he again took up the 
profession of his choice. 

His first assignment in illustration — a picture called "Wreck in the 
offing" — brought him steady employment in the field of art. His most 
important work was done in periodical illustration. 

Mr. Pyle ranked as our foremost American illustrator. Both in his 
stories (he was an author as well as an artist) he exhibited a well- 
defined stj^le, characterized bj' vigorous and sustained imagination and a 
certain charming quaintness eminently adapted to tales of fairyland or 
olden days. 



His principal publications are: 

"The merry adventures of Kobin 

Hood" 
"Pepper and salt" 
"Within the capes" 
"The wonder clock" 
"The rose of Paradise" 
"Otto of the silver hand" 
"A modern Aladdin" 
"Men of iron" 
"Jack Ballister's fortunes" 
"The stolen treasure" 



"Twilight land" 

"The garden behind the moon" 

"Semper idem" 

"Eejected of men" 

"The story of Arthur and his 

knights" 
"The story of the champions of 

the Round Table" 
"The story of Launcelot and his 

companions" 



"His plates, rich and often gorgeous in color as they were, pictorial in 
intent and spirited in movement, showed the hand that was acquainted 
with the shortcomings as well as the successes of the reproductive pro- 
cess." 

"Throughout his career he held pronounced views as to the disadvant- 
age of foreign training and association." (Nation, Nov. 16 1911.) 

Isham says : "Howard Pyle is the only man who seems to know thor- 
oughly the colonial and revolutionary epoch." 

"He liked to draw for the accompaniment of text, and did much to 
dignify the practice. His later work generalh^ shows him the complete 
artist-writer, decorator, illustrator and spiritual thinker as in the imagin- 
ative "Travels of the soul" and in the "Fate of a treasure town" so differ- 
ent in character." 

Several creditable paintings bear his signature: "One hoss shay,'' 
"Old violin," "Trotting match" ; these are well known. 

Arthur Hoeber in the International studio for January 1912, says : 
There was something convincing about Pyle's work; his knights and 



200 

ladies, his revolutionary soldiers and his men and women of colonial 
times were to the manor bom and not posed models dressed up for the 

occasion The death of Mr. V}\e leaves a distinct void and his 

place will in all probability never be filled for his work was entirely 
personal, full of the liveliest interest with great literary as well as artis- 
tic charm.'' 

Banger, Henry Ward^ (P.) b. near Rochester, N. Y., January, 1858. 
Practically self-taught. Went to New York and took a studio in the 
early 70's where he became acquainted with the works of the Barbizon 
men by which he has ever since been influenced. He studied many years 
in England, France and Holland where he enjoyed an intimacy with 
Israels, Mauve and other leaders of the Dutch school. Was elected asso- 
ciate member of the National Academy of Design in 1901 ; full member in 
1906. 

Although the artistic public knows little of Henry W. Ranger, yet he is 
unquestionably one of the few great artists America has produced. This 
is largely because he rarely exhibits in public displays. He is opposed to 
competition for honor of any sort, objecting on principle to distinctions 
other than come from the ability of his canvases to attract serious atten- 
tion. 

In viewing Mr. Ranger's pictures one feels the presence of a single 
dominating idea. This dominating central idea is the mastery of tone. 
This tonal quality is defined as ''a close and sympathetic adjustment of 
the hues and values of a picture to its dominating key — which is the 
index of its emotional meaning." (Brush & P. 16:39.) 

This tonal quality in Mr. Ranger's work is joined with a strong sense 
of structure and rhythmical composition. 

Among his best known works are : 

"Autumn woods" "Hawk's nest pool" 

"Golden evening — Noank" "On Mason's island" 

"Bow bridge" "Sentinel rock" 

"Bradbury's mill-pond No. 2" "Noank shipyard" 

"Spring woods" "Noank street" 

"September gale — Noank" "Flying point" 

"Peaceful moonlight reveries" "The edge of the woods" 

"The last of spring" "Willows" 

"Spring pastures" "Entrance to the harbor" 

"A gray day" "Top of the hill" 

"Saunders' hollow" "High bridge" 

"Connecticut woods" "Sea and sky" 

"These are ample to show that underlying all this wide range is one 



201 

perfectly definite personality that is itself throughout able to command 
moods that range from the tender and persuasive to the vigorous and 
povi'erful." (Int. studio 29 :33.) 

'•^His art is based on a profound and sympathetic appreciation of 
nature. An artistic selection from her various and at times confl.icting 
moods, it is with all its science, emotional." ( Brush & P. 16:41.) 

Read, Thomas Buchanan, (P.) b. in Chester county, Pa., March 12, 
1822; d. New York, May 11, 1872. 

Mr. Read is better known as a poet than a painter. At the age of 
seventeen he removed to Cincinnati and studied sculpture, then took up 
painting. In 1841 he established himself as a portrait painter in New 
York. In 1850 he Avent to Europe and resided several years in Rome and 
Florence. 01* his ideal pictures the "Lost Pleiad" and the "Water 
Sprite" are the most characteristic. 

"The tone of mind of this artist is essentially poetical." (Tuckerman's 
*'Book of the artists," p. 460.) 

"With the exception of a few historical and fancy pieces he has con- 
fined himself to portrait painting." (National M., 6:292.) 

Redfield, Edward Willis^ (P.) b. Bridgeville, Delaw^are, December 19, 
1868. At an early age he developed a love for art and was sent to a local 
academy where he was instructed in free-hand drawing; later studied 
in the Pennsylvania Academy of the Fine Arts and under Bouguereau 
and Robert-Fleury, Paris. He is a member of the Society of American 
Artists; was elected associate member of the National Academy of 
Design, New York, in 1904 ; full member in 1906. 

Mr. Redfield has received many competitive medals. 

Winter is his constant theme. He is a pioneer in this country in the 
realistic painting of winter, in which field he has few equals today. The 
French government has purchased his "February" for the Luxembourg 
Gallery. 

A few characteristic landscapes are: 

"Grey days'' "The crest" 

^^Landscape in April" "The red barn" 

"Brook in winter" "December" 

"Hill and valley" ''The briar patch" 

"The road to center bridge" "Cedar hills" 

"Foothills of the Blue Ridge" "The canal" 

"The hemlocks" "The old bridge" 

"Surf" "The fallen tree" 

"Winter" "On the banks of a river" 

"The three boats" "Center bridge'' 



202 

''In his manner and method of painting, his work is a reflection of the 
methods of impressionists, which he has adapted to his own use." (Int. 
studio 41 :xxix.) 

B. O. Flowers writing of Mr. Redfield and his art (Arena 36:20) refers 
to him as "an artist of winter-locked nature," and names "The three 
boats" as a typical picture of his work. He also says : "No one can look 
upon this canvas without feeling the spell of winter's icy hand. The 
shroud of snow, the skeleton trees, the somber river and the idle boats 
speak more eloquently than words of the sleeping time of nature." "The 
crest" won second medal and the award of one thousand dollars at the 
Pittsburgh art exhibition given at the Carnegie Institute in 1905. Many 
consider his best painting to be "Center bridge" which has been pur- 
chased for the permanent collection of the Chicago Art Institute. 

Eedfield, Heloise Guillou, (Min. P.) b. Philadelphia, Pa., 1883. Pupil 
of Martha S. Baker, William M. Chase and Cecilia Beaux; Madame La- 
Forge and Delecluse in Paris. 

Mrs. Redfield's miniatures "are remarkable for their 'paint quality' 
and a carrying force equal to that of life-size painting." 

"She has developed a form of expression which is really painting al- 
though the medium is water color and the scale miniature. 

"Her work shows that she has a strong mental conception at the 
outset, virile enough to bend the means of expression to serve the artist's 
will." (Int. studio 48:xix.) 

Reed, Earl H., (E.) b. Geneva, 111., July 5, 1863. Studied art at the 
Art Institute, Chicago, and later specialized in etching. 

At the annual exhibition of American etchers held in New York, 1913^ 
Mr. Reed's group of ten plates was very popular; four of these^ — "Voices 
of the dunes," "Among the sandhills," "Marsh haystacks," and "Edge 
of the forest" — had previously been seen in the Paria salon. 

"The poetry of the sea, the shore, a flight of birds, an oncoming storm, 
the driven sand, the play of the winds, a tangled root, the light waning 
through the trees are subjects which arrest his attention." (Int. studio 
51:lxxxi.) 

It was mainly owing to the initiative of Mr. Reed that the Chicago 
Society of Etchers came into existence in 1910, and he was its president 
until recently. 

Reiid, Robert, (P., Mural P.) b. Stockbridge, Mass., July 29, 1862. 
Studied at the Museum of Fine Arts, Boston, 1880, and for three years 
was assistant instructor. From 1885 to 1889 he studied in the Art 
Students' League, New York, later went to Paris and studied in the 
Academie Julien under Boulanger and Lefebvre. Exhibited in the salon 



203 

of 1889; had a studio for the summer in Etaples-pas-de-Calais; returned 
to New York in 1889. He is a member of the Ten American Painters 
and one of the eight American artists who painted frescoes on the dome 
of the Liberal Arts Building at the Columbian Exposition, 1893. Mr. 
Keid has been instructor of painting in the Art Students' League and in 
Cooper Institute and was elected member of the National Academy of 
Design, New York, in 1906. He has received many medals and prizes. 

In the decoration of the Library of Congress five octagons on the 
ceiling of the second floor and four circular panels on the wall are his 
work. 

His decorations for the International Navigation Company mark a 
new line of work in marine architecture and decoration. 

''Autumn" is considered by some critics the best picture he has ever 
painted. 

A few characteristic paintings are: 

"Gladiola" ''White parasol" 

"Canna" "Water sprite" 

"Tiger lily" "Tennis girl" 

"Pink carnation" "Butterfly" 

"Vine" "Village Juno" 

"Fleur de lys" "The mirror" 

"Azelea" "Little country girl" 

"Yellow flower" "Meditation" 
"Goldfish" 

"His work is devoid of any spiritual, philosophical or philanthropic 
pretensions. It exists for itself alone, and persistently sings of youth, 
sunlight, floAvers and supple rhythmic forms and contours." (Brinton 
in "Arts and Decoration" Nov., 1911.) 

Many titles of his pictures are chosen from the particular flower which 
is given prominence in the composition. 

Royal Cortissoz writes of Mr. Reid's work: "His paintings have a 
durable charm. The liveliness of his flower-laden girls does not fade; his 
windows and his mural decorations are as persistently persuasive. The 
reason, I think, is that he has a true perception of beauty and never 
wearies in his pursuit of technical excellence." 

"He has secured from impressionism, what could be of service to him- 
self — the delicate discrimination of color and the subtleties of various 
kinds of light and assimilated these facts into his own vigorous person- 
ality." (The artist 24 :lxiv.) 

Mr. Reid is one of the leading impressionists. 

Reinhart, Charles Stanley, (I.) b. Pittsburgh, Pa., May 16, 1844; 



204 

d. New York, August 30, 1897. Served in the civil war ; later engaged in 
mercantile business four years. In 1868 went to Europe to begin a sys- 
tematic study of art. He spent one year in Atelier Suisse, Paris, and 
then became the pupil of Profs. Echter and Otto, Munich; returned to 
the United States in 1870 and began illustrating for various publishers; 
regularly employed by Harper & Bro. from 1871-7. He was an associate 
member of the Kational Academy of Design, New York. 

Mr. Reinhart was best known for his excellent work in black and white 
in which he is without peer. He is equally effective in color work, and 
was a regular contributor to the Paris salon during the ten years he 
resided at the French capital. 

He was one of the first to introduce "painter qualities" into illustrative 
work. 



Remington, Frederic, (P., I., S.) b. Canton, N. Y., Oictober 4, 1861; d. 
Ridgeville, Conn., December 26, 1909. He was educated at Yale Art 
School (and it is said that his eminence at college was on the football 
field rather than in the art classes) ; also studied at the Art Students' 
League of New York. Was clerk in a business office, then cowboy and 
stockman on a ranch in the west ; subsequently illustrator for magazines 
treating military and American subjects and during 1897-8, Cuban 
scenes. Is well known as a painter, sculptor, illustrator and author. 
Associate member of National Academy of Design, 1891. Mr. Remington 
was the most eminent and successful of a half dozen painters who have 
made the field of Indian warfare and cowboy adventure their own. 
Essentially an illustrator, he never became a "painter's painter" but he 
was the people's favorite through the subjects he chose. "The Indian 

appealed to him not in any histrionic way but just as a human 

creature." 

Cortissoz says : "His night scenes are both veracious and beautiful 

and they exert a very original charm. He knows how the light of 

the moon or of the stars is diffused, how softly and magically it envelops 
the landscape. His picture "The gossips" is one of the handsomest and 
most convincing Indian studies ever painted." 



Familiar paintings are: 

"The luckless hunter" 
"The moose country" 
"The buffalo runners" 
"The fall of the cowboy" 
"Coming to call" 
"An Indian trapper" 
"Downing the nigh leader" 
"Advance guard" 



"Trailing Texas cattle" 
"The chieftain" 
"Picture writing'^ 
"The winter campaign" 
"Among the led horses" 
"Driving cattle on the plains" 
"Indian runner" 



205 

In writing of an exhibition of his pictures, an eminent art critic saj^s : 
"Two aspects of his ability as a painter of life were brought out in sharp 
relief by this collection of pictures — his authentic interpretation of the 
Indian, and his fidelity to things as they are amongst our soldiers and 
cowboys.'' 

His ponies are full of "horse character" and connoisseurs agree that in 
the painting of the horse. Remington surpassed Meissonier, Fromentin 
and Detaille. His equestrian bronzes are picturesque and spirited. He 
approaches sculpture from the pictorial rather than the monumental 
side. 

Lorado Taft says: "^Ir. Remington is not an interpreter, nor is he 
likely ever to conceive a theme sculpturally." 

His "Bronco buster" and "Wounded bunkie" are his leading sculpture. 

Reuterdahl, Henry. (I. and P.) b. Malmo, Sw^eden, August 30, 1871. 
Member Society of Illustrators and American Water Color Society. 
Represented at the 45th annual exhibition of the American Water Color 
Society. 

"Henr}' Reuterdahl stands alone in his wonderfully realistic paintings 
of steamships laboring in tempestuous waters. He has dramatized the 
warship, the destroyer, the liner and the 'tramp' as no other painter and 
shows in his exhibition pictures a high indication of his attainment as 
an illustrator — and vice versa." 

Rhind, J. Massey, (S.) b. Edinburgh, Scotland, July 9, 1860. From 
his earliest childhood Mr. Rhind has modeled in clay. His father, John 
Rhind, R. S. A., gave him instructions in art and Avhile still very young 
he was sent to an art school in Lambeth where he became a pupil of 
Delau, the French sculptor, at that time a political exile. Later Rhind 
studied at the Royal Academy. He took three gold medals in one year 
at South Kensington, being the first student who ever scored such a 
success. Later he went to Paris, then back to England and came to the 
United States in 1889. 

When he submitted the design for the bronze doors of Tl^initj^ church, 
the world in general recogiiized him as a powerful sculptor. His design 
for a fountain in Washington Park, Albany, to be erected as a memorial 
to Senator Rufus King, was accepted. "For originality and dramatic 
effect, there is nothing in America to surpass it." 

Mr. Rhind's work is to be seen in several of the great business build- 
ings erected in New York City and in the decorative figures on the front 
of the Alexander Commencement Hall at Princeton. One of his latest 
works is the Calhoun statue, and one of his finest examples of interior 
decorative work is the mantel in the great hall of the Yerkes New York 
house. (Munsey 14:671.) 



206 

New York sculptors say tliat the eighteen symbolic figures in the frieze 
of the Farmers' Deposit Bldg., in Pittsburgh, are the finest examples of 
architectural sculpture in the United States. 

EiCHARDS, Wir.LiAM Trost^ (P.) b. Philadelphia, Pa., November 14, 
1833 ; d. Newport, E. I., November 8, 1905. At an early age he turned his 
attention to the study of art and received his first instructions from Paul 
Weber. In 1855 he went to Europe, studying in Florence, Rome and 
Paris. He was an exhibitor in the Paris salon, the Royal Academy and 
Grosvenor Gallery, London, and was an honorary member of the Na- 
tional Academy of Design, New York. 

A painter of landscapes and marines, his best works in oil are : 

''The Wissahickon" ''Mid-ocean" 

"New England coast" "At Atlantic City" (Paris salon, 

"Mid-summer" 1873) 

"June woods" "Wood scene" 

"Spring" "Summer afternoon" 

"Ebbtide" "Old orchard at Newport" 

"The inlet near Newport" "Out in the country" 

"Tulip trees" "Sea and sky" 

"Land's end" 

"So carefully painted in some of Richards' landscapes are the leaves, 
grasses, grain-stalks, weeds, stones and flowers, that we seem not to be 
looking as a distant prospect, but lying on the ground with herbage and 
blossoms directly under our eyes." (Tuckerman.) 

"Richards was one of the first American painters who adopted the pre- 
Raphaelite style of treatment in their pictures; this was in 1858, and 
since that time no artist in this country has achieved greater success in 
the profession. His drawing is never at fault and the crispness of his 
touch is charming." (Art Journal, Aug. 1877.) 

In writing of the art of William T. Richards in "Masterpieces of the 

sea," Harrison S. Morris, says : "He was a realist the things he 

painted, the sea, the sky, all outdoors — these things were real to him 
and were not things to play tricks with. He did not paint a sunrise 
effect, he painted 'Sunrise.' He did not paint 'Fog — an impression — ' 
he painted fog an actuality." 

Robinson, Theodore^ (P., I.) b. Irasburg, Yt., June 3, 1852; d. April 2, 
1896. Studied art in Paris under Carolus-Duran and G^rome. He spent 
the years 1884-88 with Monet at Giverny, then returned to this country 
and devoted himself to the Delaware and Hudson River Canal scenery. 
In earlier years he did a great deal of mural painting in New York, and 
he was well known as an illustrator. 



207 

"He accepted the impressionist theory that the first consciousness we 
receive of an object consists of a confusion of color dots. But he paintea 
merely in prismatic color strokes, varying in size according to the subject. 
(Hartmann.) 

"In many of his works, especially in "The girl and cow^' he shows the 
real benefit the impressionist doctrine may convey to those whose indi- 
vidual strength repels ill-digested imitation. He revelled in light and 
analyzed it with subtle intuition growing emotional at every sunburst." 
Was strictly a neo-impressionist. 

Robinson had the facultj^ to impress one with the spontaneity of his 
expression. His work always seems to be done au premier coup. He 
possesses the true tonality of nature. The same tone of nature is found 
in his "Winter landscape" as in his "The girl and cow." 

While studying under Carolus-Duran and Gerome be painted his 
"Study of a girl" the first of his pictures to be accepted by the Paris 
salon. In 1890 "Winter landscape" was awarded the Webb prize as the 
best landscape by an artist under forty years age. In 1892 he Avon the 
Shaw prize of |1,000 for the figure painting in his "In the sun." 

Soon after his death in 1896 one of his pictures was offered as a gift to 
the Metropolitan Museum, New York, and the gift was declined. Within 
the last four years the museum has acquired three of his pictures and 
exhibits a fourth which is loaned. 

Cox writes of the "cold and intellectual gaiety" of Robinson's views 
of Giverny. 

Rogers, John, (S.) b. Salem, Mass., October 30, 1829; d. New Canaan, 
Conn., July 26, 1904. 

He Avas compelled to abandon the profession of civil engineering on 
a(*count of weak eyes and entered a machine shop and modeled in clay 
during his leisure moments. With the exception of three months in 
Rome in 1850 Avhen he worked in the studio of Mr. Spencer, an English- 
man, he was self-taught. In 1859 he executed the first of his small plaster 
groups which met with such popular success. He sent twenty-nine 
"Roger's groups" to the Centennial Exhibition in Philadelphia in 1876, 
and receiA^ed the highest award at the Columbian Exposition in 1893 for 
his dignified seated figure of Lincoln. 

Mr. Rogers was elected a member of the National Academy in 1863, 
and belonged to the National Sculpture Society. {American Art An- 
nual, Yol. 5.) 

RoLSHovEiN, Julius, (P.) b. Detroit, Mich., October 28, 1858. Studied 
art in Diisseldorf and Munich where he met Frank DuA^eneck with whom 
he also studied, accompanying him to Italy. In 1882 he went to Paris 
and worked in the studio of Robert-Pleury. He has exhibited in Paris, 



208 

Munich, Berlin, London, Brussels, Vienna and Florence and in the 
principal cities of the United States and received honors and medals 
and artistic recognition from these exhibitions. 

Mr. Rolshoven has instructed art classes in Paris, London and 
Florence, and is a member of the Munich Secessionists, the Society 
Rationale des Beaux Arts, Paris, and the Chelsea Art Club, London. His 
present address is 15 Viale Michelangelo, Florence, Italy. 

Drawing is perhaps the most noticeable strength of Mr. Rolshoven's 
work. He is also noted for the poetic way in which he treats interior 
and out-of-door scenes. 

His beautiful nude "La Yenere brima," an echo of his Paris period, 
done in pastel, w^as given the place of honor in the first pastel exhibition 
in London. His work has of late years rebuilt itself upon a stronger 
and finer line. This the discriminating critic finds in '^The girl w^ith 
the kitten." 

"He recently exhibited two paintings in the salon of the Chicago Art 
Institute that are particularly interesting: in "The cloister, Church of St. 
Francis d'Assisi" he gives a peaceful solemn vision of the interior, 
radiant in sparkling sunlight; Avhile "The prayer" bathed in mysterious 
silence, gleams cool in the pale evening light." (Int. studio 27:ciii.) 

In his Venetian pictures there is nothing of the sunny play of light — 
on the contrary, powerful greenish-blue tones are spread out with an 
effect of dark and solemn gravity. (Miither.) 

"Great grandmother's finery" is charming in treatment. 

There are two distinct influences clearly traceable in Mr. Rolshoven's 
work : the eye and hand for form, for line, learned in his goldsmith period 
through Duveneck from the Dutch and Flemish schools. (The artist^ 
26:185.) 

The Rome correspondent writing on American artists at the exposition 
of 1911, says : "One of the best portraits of women in the exhibition is 
that by Julius Rolshoven. This fine painting is rich in color and de- 
lightful in its treatment." 

Mr. Rolshoven recently exhibited his latest paintings in Paris and the 
Paris edition of the New York Herald contains a flattering comment on 
the work of this Detroit artist, mentioning particularly "Expectancy," 
"The three Graces," "The dancer in white" and the "Salon of Mona Lisa." 

Roth, Frederick George Richard^ (S.) b. Brooklyn, N. Y., April 28, 
1872. A pupil of Hellman in Vienna, 1892, and Academy of Fine Arts, 
Berlin, 1894. He received silver medal at St. Louis Exposition, 1904, 
and was elected full member of the National Academy in 1906. A mem- 
ber of the National Sculpture Society, and has exhibited in Europe and 
the United States. 

Mr. Roth works in clay, glazed porcelain, bronze and marble. His 



209 

group of polar bears won his election to the National Academy. He 
designed the architectural tigers for one of the gates of Princeton Uni- 
versity. 

'^He is capable of producing a portrait of an individual creature as 
well as a symbol of the species." (Arts & D., 2:222.) 

KucKSTUHL, Frederick Weillington, (S.) b. Breitenbach, Alsace, Ger- 
many, May 22, 1853; came to America when one year old. Pupil of 
Academie Julien under Mercie, Boulanger and Lefebvre. He received 
honorable mention in the Paris salon 1889. For many years was secre- 
tar}^ of the National Sculpture Society. 

"Without question Mr. KuckstuhPs most beautiful Avork is his marble 
figure "Evening" which he modeled in Paris and which won him an honor- 
able mention at the salon of 1888 and a medal at the Columbian Exposi- 
tion. It is a poetic conception very simply expressed in a pose of unusual 
gra(^e, and reveals a close study of nature." (Taft.) 

Other well known works of his are : 

"Mercury teasing the eagle of Jupiter," in St. Louis. 

"Solon" in the Library of Congress and 

"Wisdom" and "Force" the two seated figures which guard the en- 
trance of the appellate court in New York City. 

One of his latest and most popular works is "'The spirit of the confed- 
eracy." 

(Taft.) 

Ryder, Albert Pinkham, (P.) b. New Bedford, Mass., March 19, 1847. 
Studied art under William E. Marshall and at the National Academy of 
Design, New York. Practically self-taught. Member of the National 
Academy of Design, New York, since 1906. 

The titles of some of his characteristic works give an idea of the scope 
of his subjects : 

"Jonah and the whale" "Desdemona" 

"Christ appearing unto Mary" "Macbeth on horseback" 

"The story of the cross" "Meeting the three witches" 

"Charity" "Autumn landscape" 

"The forest of Arden" "Moonlight'* 

"The little maid of Arcady" "The old mill" 

"The two lovers" "The wandering cow" 

"Constance" - "The race" 

"The sisters" "Chase" 
27 



210 



"The passing song" 

"Siegfried" 

"Flying Dutchman" 

"The temple of the mind" 

"The tempest" 



"Poet on Pegasus visiting the 

muses" 
"The horseman" 



Twilight" 



Charles DeKay, the art critic, who really discovered Eyder, writes of 
him as "a colorist quite apart from schools and masters who, like Homer 
D. Martin, is what might be called an instructive colorist " 

Generally small in size, often jewel-like, inwardly more glowing and 
charming than Limoges enamels, his pictures deal in color as the works 
of a great born composer deal in music. 

"His moonlight scenes are imbued with the w^itchery and mystery of 

liight, as perhaps no one else has presented it His is that obscure 

illusive quality that is to painting what Browning is to poetry." 

Isham, in his "History of American Painting," says : "Ryder's pic- 
tures differ from Whistler's as well as from Fuller's in being not tran- 
scriptions from nature but creations of the imagination, and in striving 
to convej^ ideas, vague but poetic." 

"His sense for colors — gorgeous, ponderous as it is in his blues, soft, 
caressing in his yellows, and weird in his lilac greens — seems to me but 

au inferior quality Ryder is a chiaroscurist, an ideal black and 

white artist, with special aptitude for moonlight effects. One must see 
liis "Siegfried" to realize how he can flood a picture with sensuous be- 
witching poetry. And in order to fathom how far he can climb in 
grandeur of thought and composition, one must study his "Jonah." His 
"Flying Dutchman" is a picture as impressive as religious — one of the 
few that sound the note of sublimity, which is after all the highest in 
art." (Hartmann.) 

Walter Pach, the writer, in the L'art et les artistes, names Ryder as 
one of the three great American painters and says : "His art is like the 
playing of some master violinist, color aud form and other painters' 

harmonies being the strings of his fine instrument He chooses his 

subjects from the poets and out of them he produces pictures of 

profound and poignant beauty, intensely personal expressions of his 
own rare spirit." 

"We know of no living artist who fills us with such rare and charming 
poetical thoughts, none who transports us into such a mysterious, de 
lightful unreal, fairy realm of the fancy." (New Eng. M. 14:150.) 



Saint-Gaudens, Augustus, (S.) b. Dublin, Ireland, March 1, 1848; d. 
Oornish, N. H., August 3, 1907. At the age of six months he came with 
his family to America. When thirteen he was apprenticed to Louis Avet, 
a cameo cutter. From 1864-7 he studied drawing at night at Cooper 




AUGUSTUS SAINT-GAUDENS. 



212 

Union and at the National Academy of Design, and in 1867 went to 
Paris to study sculpture. In 1869 he entered Jouffroy's studio in the 
Ecole des Beaux Arts. While in Kome, 1870-2 he produced the statues of 
'•Hiawatha" and "Silence;" also experimented in painting, making stud- 
ies of the Campagna. Keturned to the United States in 1874. Associate 
member of National Academy of Design, 1888 ; full member 1889. 

His five monuments in the remarkable series of memorials to civil 
war heroes are the Farragut statue and the equestrian statue of Sherman 
in New York, Shaw memorial in Boston, and the statues of Lincoln and 
Logan in Chicago. 

The ''Head of Christ" for the Phillips Brooks memorial was one of the 
last things that Saint-Gaudens did with his own hands. 

An eminent critic has called the Sherman monument the third greatest 
equestrian statue in the world, placing only the ''Colleoni" of Yerrocchio 
and the ''Gattamelata" of Donatello before it. His "Deacon Chapin" m 
])robably the finest embodiment of Puritanism in our art. 

Kenyon Cox says : "I believe Saint-Gaudens is the most complete 
master of relief since the fifteenth century." His technical perfection 
in this rare art is best seen in the relief-portraits of the "Butler chil- 
dren," "Sarah RedAvood Lee" and the "Schiff children." 

Of the "Adams memorial" now placed in Rock Creek cemetery near 
Washington, D. C, the above mentioned critic writes : "One knows of 
nothing since the tombs of the Medici that fills one with the same hushed 
awe as this shrouded, hooded, deeply brooding figure, rigid with con- 
templation, still with an eternal stillness, her soul rapt from the body 
on some distant quest Her meaning is mystery; she is the ever- 
lasting enigma." 

France made him an officer of the Legion of Honor and the art societies 
of France elected him to the highest position within their gift. But the 
honors which he valued most of all were the degrees conferred upon him 
by Harvard and Princeton — the gratifying token of recognition by great 
centers of learning of the fact that he had done notable work in raising 
American sculpture to its present heights. (Ct-aftsman 13:59.) 

Sargent, John Singek, (P., Mural P.) b. Florence, Italy, January 12^ 
1856, of American parents. From his infancy he breathed an atmosphere 
of culture and art. He began his art studies at the Academy of Fine 
Arts in Florence and continued them in the studio of Carolus-Duran, 
Paris. At the age of twenty-two he received honorable mention in the 
Paris salon for his "Fishing excursion." In 1879 he sprang into noto- 
riety with his portrait of his master, Carolus-Duran. His "El Jaelo," 
a dancing girl, created a sensation in 1882; Madame Gauthereau's por- 
trait made him famous and "Carmencita" was purchased by France for 
the Luxembourg Gallery. His charming "Carnation, lily, lily, rose," waKS 




Copyright by J. E Purdy, Boston. 

JOHN SINGER SARGENT. 



214 

purchased for the Koyal Academy, London, and his great canvas "The 
four doctors" was presented to the Johns Hopkins University in 1907. 

It was his 'Trieze of the prophets" in the Boston Public Library that 
brought to the name of John Singer Sargent jDopularity in the United 
States, but his portrait painting has given him world-fame. 

Isham says : '^With all limitations and reserves made, he has talents 
manifest and unmistakable that give him securely his position as the 
first portrait painter since Reynolds and Gainsborough." 

Kenyon Cox writes : ''Since the death of Whistler, Mr. Sargent holds 
by all odds, the highest and most conspicuous position before the world 
of any artist Avhom we can claim in some sort as American — indeed, he is 
today one of the most famous artists of any countr}^ easily the first 
painter of England and one of the first wherever he may find himself." 

''Sargent's canvas vibrates with the exquisite quality of the theme 

itself, in all its integrity. That is his great gift If there is a living 

painter in w^hose interpretations of character, confidence can be placed^ 
it is Mr. Sargent His range is apparently unlimited." (Cortissoz.) 

Child in his "Art and criticism" has this : "Mr. Sargent is an artist 
in the noble sense of the term; he will never consent to be commonplace; 
he loves rarity ; he interests always by the distinction of an effort which 
is not that of ordinary men." 

"Possibly the feature of Mr. Sargent's work that excites the greatest 
admiration in his fellow-artists is his facile handling of the brush. The 
final result of it gives one the impression of work done easily — in fact 
rather improvised than premeditated. But the impression is somewhat 
misleading, every stroke is calmly calculated, every touch is cooly de- 
signed." (John C. Van Dyke.) 

Mr. Sargent is a member of the Royal Academy, London, of the So- 
ciete des Beaux Arts, Paris, National Academy of Design, New York, a 
chevalier of the Legion of Honor, France, and his works are hors con- 
cours in the Paris salon. 

The highest honor of artistic distinction came to him in 1897 when he 
was invited to paint a portrait of himself to be hung in the famous por- 
trait gallery of the Uffizi, Florence, Italy. As none but truly great and 
world-famous artists are thus honored, this compliment ensures to him 
undying fame. 

Sartain, William, (P.) b. Philadelphia, Pa., November 21, 1843. A 
pupil of Pennsylvania Academy of the Fine Arts, Bonnat and Ecole des 
Beaux Arts in Paris, he also studied in Italy and Spain; won silver 
medal in Boston; received honorable mention Pennsylvania Academy of 
the Fine Arts and bronze medal Pan-American Exposition, Buffalo, 1901. 
lie is an associate member of the National Academy; was one of the 



215 

founders of the Society of American Artists; president New York Art 
Club and taught life classes in Art Students' League, New York. 

"There is in Mr. Sartain's work a delicac}^ of tone in the simple masses 
not striking at first, but whose absolute justness is recognized on longer 
acquaintance. Some of his Moorish street scenes have a depth of lumin- 
ous atmosphere enveloping the figures in the way comparable to that of 
Pieter de Hooge." (Isham.) 

Cox writes of the romantic feeling and deep golden tone of Sartain's 
"Kasba." 

ScHiLLE, Alicei, (W. C, Min. P.) b. Columbus, Ohio. Pupil of Colum- 
bus Art School, Art Students' League and New York School of Art under 
William M. Chase, and Prinet, Collin and Courtois in Paris. Won the 
New York Woman's Art Club prize in 1908. 

"Sufliciently an impressionist to be clever and not sufficiently pledged 
to impressionism to run into the amazing technical vagaries of that cult. 
(Int. studio 45:xliii.) 

ScHNEiDEaR, Otto J., (P., E.) b. 1875, and spent his childhood in At- 
lanta, 111., moving to Chicago at the age of twelve. He received instruc- 
tions at the Chicago Art Institute; was employed as an illustrator for a 
number of years in the art departments of various metropolitan news- 
papers, and later took up etching. 

Mr. Schneider's portraits of men exhibit his strongest work. The pro- 
file portrait of Ralph Waldo Emerson has the idealistic qualities of a 
great portrait. The portrait of the late President McKinley in the calm 
dignity that was part of the man, inspired a memorable etching. Again 
power is shown in the analysis and presentment of the unique personality 
of Elbert Hubbard ; in the dry-point of Dr. Quinn the musician, in pro- 
file; in the full face of Mr. A. F. Brooks, the painter, and again in the 
portrait of Bror J. Olsson-Nordfeldt, the etcher and painter. In each 
the salient characteristics are portrayed in their true light. "His por- 
traits of women are fantasies on the motif of grace; those of men pene- 
trate character and are documents of human endeavor; the street study 
opens to another impersonal interest and in the landscape Mr. Schneider 
has reached a point worthy of the highest appreciation. Into his picture 
"A quiet nook" there is reflection of the artist's own consciousness and 
his belief "that nature never did betray the heart that loved her." (Lena 
M. McCauley.) 

Sc'HOFiELD, W. Elmeb^ (P.) b. Philadelphia, Pa., September 9, 1867. 
Pupil of the Pennsylvania Academy of the Fine Arts and under Bou- 
guereau, Doucet, Ferrier and Edmond Aman-Jean in Paris. Received 
honorable mention at exhibition of Art Club of Philadelphia in 1898, 



216 

also at Paris Exposition, 1900 ; Webb prize, Society of American Artists, 
1900; first Hallgarten prize, National Academy of Design, New York; 
honorable mention Carnegie Institute, Pittsburgh; Sesnan gold medal 
of honor, Carnegie Institute, Pittsburgh, 1904. Member of the National 
Academy of Design, New York, since 1907. 

Kepresented in permanent collections in Buffalo Museum of Art, Penn- 
sylvania Academy of the Fine Arts, Cincinnati Museum, Carnegie Insti- 
tute, Pittsburgh, John Herron Art Gallery, Indianapolis, and Corcoran 
Gallery of Art, Washington. 



Best known paintings are 

''January evening" 
"Winter — snow study" 
"Winter in Picardy" 
"The wood road" 
"February morning" 
"Midwinter thaw" 



"Sand dunes near Lelant" 
"The packet boat" 
"Early evening, Boulogne" 
"Below the lock" 
"Early days of spring^' 
"March snow" 



"Mr. Schofield is a landscape painter who favors snowscapes; he paints 
his landscapes after the fashion of the Manet impressionism — ^of seeing 
things flat, as broad masses." 

"vSchofield lays on his pigment in broad touches, and the picture has 
a tendency to lie on the surface of the canvas as a decorative pattern. 
His subjects have the quality of a tapestry of delicate gray and buff 
spots." (Isham.) 

"Essentially a man of the open, Mr. Schofield makes the spectator con- 
scious of a rugged quality dominating his canvases wherein detail is 



sub-ordinated to mass and general effect 



To his excellent drauslits? 



manship Mr. Schofield added a distinguished feeling for tone and color, 
and always he has had an innate sense of the pictorial grasping intui- 
tively the possibilities of the picturesque in a composition way." (Ar- 
thur Hoeber.) 



ScHULEK., Hans^ (S.) b. Alsace-Lorraine in 1874. When five years of 
age he came with his parents to the United States. Living in Baltimore, 
he attended the Maryland Institute and studied with the Charcoal Club. 
When the Rinehart School of Sculpture was opened he was one of the 
original four students who received instructions. Here he studied for 
three years then went to Paris in 1898 and studied at the Academie 
Julien under Raoul Verlet. During the year he was in Paris he won two 
class medals, and in 1899 the Prix Honoraire. Saint-Gaudens became 
interested in the young sculptor and through his influence he was 
awarded the Rinehart Scholarship for Paris. 

His "Ariadne" was sent to the salon in 1901 and it was awarded the 



217 

coveted Gold Medal ''Paradise lost" was exhibited in the salon of 1903 
and "Memory," a tomb figure in bronze, was completed in 1904. Return- 
ing to the United States in 1905 he received many commissions for por- 
trait busts of distinguished people. 

iO'ne of his most beautiful works is "Aphrodite" springing from the 
sea foam. 

"Schuler's work is strong. His ideas are original, his conceptions are 
inspiring, life-like — almost human." (Int. studio 53:xxix.) 

Scott, Emily Maria Spaford, (P.) b. Springwater, N. Y., August 27, 
1832. Mrs. Scott's first attempt at drawing was in the copying of fashion 
l)lates, because when she was young pictures in the family were few and 
far between and even chromos were scarce. She was educated in the 
public schools of Springwater and at Ann Arbor, Michigan. In 1871 she 
wxnt to New York City to study at the National Academy of Design and 
later entered the Art Students' League. In 1872 she went to Europe 
spending two years in study in Paris and in the cities of Italy and other 
countries. Since 1876 her home has been in New Y^ork City. March 1, 
1853, Miss Spaford was married to Charles Scott of Ann Arbor, Michigan. 

"Roses have been Mrs. Scott's favorite stud}' and she paints them with 
a tenderness and sentiment rarely seen in fiower pictures." 

ScuDDER, Janet, (S.) b. Terre Haute, Ind. A pupil of Rebisso in Cin- 
cinnati and Lor ado Taft in Chicago ; in Paris she studied first in the 
Vitti Academic and Colarossi's night school, then under MacMonnies. 
After an absence of three years, Miss Scudder returned to the United 
States and opened a studio in New York. Her first commission was for a 
lamp post design and her second, the seal for the Bar Association of 
New York. After receiving commissions for several memorial tablets 
and portraits in relief, she again went to Paris and from there to Flor- 
ence, Italy, w^here she had a studio for several years. 

Miss Scudder has been honored in Paris, five of her medallion portraits 
having been purchased by the French government, and these are the first 
work of an American woman sculptor to be admitted to the Luxembourg. 
These medallions are in bas-relief in marble, framed in bronze; casts of 
them have been made in gold and silver. One is said to be the largest 
medallion ever made in gold, being about four inches long. (Clements 
•^' Women in Fine Arts.") 

Her portrait medallion of Bishop Hare is especially notable. Delight- 
ful also is the portrait of Master Billy Fahnestock. Her "Sun goddess" 
for the Brooklyn Institute of Arts and Sciences, representing Japanese 
Art, is a gravely dignified and significant sculptural creation. Miss 
Scudder is the only woman among the contributing sculptors. 

While residing in Italy, Miss Scudder became interested in fountains, 



218 

and in this line of work she has made her largest contributions to con- 
temporary art. "It is these which give the keynote to her art, establish- 
ing its individuality and to a degree measuring its worth. Her theor}^ 
is that sculpture can be at the same time both gay and serious, enlivening 

and uplifting In her figures of children she has embodied the ver^ 

essence of childish glee while keeping invariably in mind the prerogatives 

of plastic expression While her fountains are merry, they are in 

nowise trivial." (Int. studio 39:lxxxi.) 
Notable works : 

"Frog" fountain. Metropolitan Museum, New York. 
"Fighting boys" fountain. Art Institute, Chicago. 

Sears, Taber, (Mural P.) b. Boston, Mass., 1870. Pupil Acadamie 
Julien in Paris under Benjamin-Constant and Laurens; also studied with 
Merson in Paris, and in Florence and Kome. 

Mural paintings: 

"Spirit of Niagara" in Buffalo historical society. 

"New York among the nations," New York city hall. 

Frieze of the apostles, Epiphany church, Pittsburgh, Pa. 

Stained glass window : "Pt'esentation in the temple." (Art & P. 2 :315.) 

Seton, Ernest Thompson, (I.) b. South Shields, England, August 14, 
1860. Lived in the backwoods of Canada 1866-70 ; on the western plains, 
1882-7; educated at Toronto Collegiate Institute and Koyal Academy, 
London; studied art in Paris in 1890 and again in 1894, a pupil of 
Gerome, Bouguereau and Ferrier. Exhibited in the salons paintings and 
drawings of w^olves, his favorite subject. 

He was one of the chief illustrators of the Century Dictionary con- 
tributing fully a thousand drawings of animals and birds; was also offi- 
cial naturalist to the government of Manitoba, and is well known as an 
artist, author and lecturer. 

Seiwedll, Kobert V. V., (Mural P.) b. New York 1860. Pupil of Le- 
febvre and Boul anger in Paris. Eeceived first Hallgarten prize National 
Academy of Design, 1889; also won many medals. Elected associate 
member of National Academy 1902. Member of leading art clubs. 

His mural painting "The Canterbury Pilgrims" in the great hall of 
Georgian court, Lakewood, and several others are widely known. 

Shannon, James Jebusa^ (P.) b. Auburn, N. Y., February 3, 1862. 
Spent early boyhood at St. Catherines, Ont. First painted bill posters 
for agricultural fairs ; at the age of fifteen he went to London. Worked 
three years in South Kensington School where he took gold medal for 
figure painting; has also taken medals for portraits at exposition in 
Paris, Berlin, Yienna and Chicago. Associate member of Roval Acad- 



219 

emy, London, in 1897; full member in 1909; associate member of the 
National Academy of Design, New York, 1908. 

A^Tiile a student he painted by command of Queen Victoria the por- 
trait of Miss Horatia Stopford, one of the maids of honor, since which 
time he has been overrun with commissions. 

Among his notable works are his portrait of the young Duchess uf 
Portland, Marchioness of Granby, Lady Marjorie Manners, Duchess of 
Sutherland, ''Miss Kitty,'- Lady Carberw and children, Miss Clough, and 
Sir Alfred Lyali. His "Iris" a portrait of his wife, has won high praise 
and was, together with "War" and ''Flower girl" purchased for the Tate 
Gallery. 

Hartmann says : "He is today one of the most brilliant and certainly 
one of the most fashionable portrait painters of London. In forming his 
style he has been chiefly influenced by Bastien LePage and TVTiistler." 

"The portrait which J. J. Shannon paints may be designated as pic- 
torial Shannon belongs to those who will first and last see an 

object and render it with reference to its value as a picture." 

"This priceless quality oi the art to which Shannon and his colleagues 
are the heirs is its ability to suggest the special atmosphere and environ- 
ment of a given period." (Brinton's "Modern Artists.") 

In England Mr. Shannon enjoys a popularity as a portrait painter 
second to John Singer Sargent. 

Mr. Shannon received the unique distinction of a "medaille d'honneur" 
for his portrait of Phil May, exhibited at the International Exposition of 
Pine Arts at Barcelona, Spain, 1911. 

Commenting on his recent portrait of Princess Mary, a London art 
-correspondent says: "The artist has done full justice to his subject in 
the delightful freshness and simplicity of style which he has brought to 
bear on it, skilfully avoiding the usual stiffness and conventionality of 
the average royal portrait." 

Sherwood, Eosina Emmet (Mrs. Arthur M. Sherwood), (Min. P., I.) 
b. New York City, December 13, 1857. Pupil of William M. Chase in 
New York ; Academie Julien in Paris. 

Mrs. Sherwood has received many prizes and medals for drawing and 
miniature work. W^as elected associate member of National Academy, 
1906. 

Shinn, Everett^ (P., I., Mural P.) b. Woodstown, N. Y., November 6, 
1873. Studied art at the Pennsylvania Academy of the Fine Arts for 
five years. Mr. Shinn did illustrating for Philadelphia newspapers and 
for two years furnished drawings for the New York Press. He has been 
represented in all leading magazines, and the Boussod, Valadon Com- 
pany sent him abroad to make pictures of the street scenes and typical 
life in Paris, exclusively for their trade. 



220 

''Shinn is a master of the pastel ; he knows thoroughly the possibilities 
and the limitations of his medium." (Int. studio 30:84.) 

^'Matinee crowd, Broadway" ; "French music hall" and ^'Outdoor stage, 
France," are admirable examples of his work in this medium. 

In his mural decorations he revives the eighteenth century French 
painting, copying the style of Watteau, Fragonard and Boucher. 

Mr. Gallatin says of Shinn's decorations : ''We have very charming 
souvenirs of the joyous days when Louis XVI sat upon the throne of 
France." His latest and most successful effort in this line is a series 
of panels painted for W. M. Salisbury's house at Pittsfield, Mass. 

Mr. Shinn has been greatly influenced by Degas with whom he studied 
drawing. 

Shinn, Florence Scoveil^ (I.) b. Camden, N. Y. Studied art at the 
Pennsylvania Academy of the Fine Arts; an illustrator since 1897. 

Her keen sense of humor crops out in every group, and the turn of a 
line gives a comical effect. The peculiar gift that Mrs. Shinn is en- 
dowed with is that she can draw the most pitiful little figures and yet 
infuse into the picture a happy, healthy atmosphere that impresses us 
with the Avorth and joy of living. Her characters are never caricatures; 
they are appealing and provoke the laughter that bears no malice. 

SHIRL.UV, Walter, (P.) b. Paisley, Scotland, August 6, 1838; d. 
Madrid, Spain, December 29, 1909. Began his career as an engraver and 
illustrator; was thirty-two years of age when he went abroad to study. 
After seven years in the school in Munich under the instruction of 
Wagner and Kaulbach, he returned to this country and devoted himself 
lo the interests and advancement of national art. He was one of the first 
instructors at the Art Students' League, Xew York. One of the founders, 
and the first president, of the Society of American Artists. 

Earlier pictures : 



'^Toning of the bell" "A study of a head" 
'^Sheep-shearing in the Bavarian ''Feeding the poultry" 

highlands" "Good morning" 

"The young patrician" "Sheep" 

Other works : * 

"Capelmeister" "Indian girl" 

"The fiddler" "Eager for the fray" 

"Very old" "Autumn" 

"Sleep" "Brittany" 

"Gathering seaweed" "Among the old poets" 

"Roses" "Rhubarb green" 

"The dancer" "Checker players" 
"Marble quarry" 



221 

Mr. Shirlaw received medal of the Koyal Academy, Munich ; honorable 
mention at the Paris Exposition in 1889 ; associate member of the Na- 
tional Academy of Design, New York, 1878; full member, 1888. 

''The name and fame of Walter Shirlaw will, however, be more certainly 
perpetuated through his gifts as a master of decorative arts and by the 
influence and effect of his rare personality and noble character on con- 
temporaneous art development." (Int. studio 43.) 

Shirlaw's strong point is not color; he shows a decided leaning to 
sculpture. (Innes ^'Schools of painting.") 

In the Morgan Memorial Art Gallery at Hartford, Conn., there has 
recently been hung one of Mr. Shirlaw's important canvases^ — "The mar- 
ble quarry." It is an Italian landscape. ''This landscape more than 
holds its own in proximity to an exquisite Corot, as well as in close 
association with worthy examples of Daubigny, Troyon and Jules Du- 
pre." 

Shulz, AdO'Lph Kobert, (P.) b. Delavan, Wisconsin, June 12, 1869. 
Studied abroad at the Academie Julien under Lefebvre, Benjamin-Con- 
stant, Laurens and others. Specialty, landscapes; also a teacher. 

At an early age Mr. Shulz became interested in the study of trees, their 
formation and color. He also became familiar Avith their individual 
aspect while the moods of the sky were his delight. 

"Spring song" "Autumn fog" 

"Frost and fog" 

(Arts & D. 2:332.) 

Shrady, Henry Merwin^ (S.) b. New York, October 24, 1871. A son 
of Dr. George F. Shrady, one of General Grant's physicians, he graduated 
from the law department of Columbia College, but never took up the 
profession. Recovering from an illness he engaged in mercantile busi- 
ness until 1900 when a financial failure caused him to take up drawing 
and modeling. His first effort w^as the painting of a mouse. His wife 
offered it to the National Academy of Design for exhibition. It w^as 
accepted and hung and later sold for |50. A study of kittens followed — 
this brought a fair price. Sketching at the Zoological Gardens he in- 
terested Karl Bitter, the sculptor, who invited him to share his studio; 
here he modeled the colossal figxires which decorated the bridges in 
the grounds of the Pan-American Exposition at Buffalo, 1901. 

In 1909 he was elected an associate member of the National Academy 
of Design. 

Designs by thirty-four competitors were submitted for the Grant 
Memorial to be erected in Washington, D. C. Mr. Shrady was awarded 
the commission — 150,000. He had previously w^on the commission for 
the Washington statue, Brooklyn, N. Y., and also been commissioned 



ooo 



by the Holland Society of New York to make an equestrian statue of 
William the Silent. 

Writing of the Grant Memorial, a critic says of the artillery group: 
"Nothing in monumental sculpture could well be more spirited and 
imposing than the view from the front of these three great artillery 
horses." ...... Mr. Shrady again illustrated his intimate knowl- 
edge and anatomical familiarity with his subjects in seizing upon and 
arresting the happy moment whicli presents less stress and strain in 
conveying the spirit of life and motion." (Jour, of Amer. Hist. 7: 1013.) 



Simmons, Edward Emerson, (P., Mural P.) b. Concord, Mass., O'ct- 
ober 27, 1852; a nephew of Ralph Waldo Emerson; graduated from Har- 
vard in 1874. Studied art in Boston, then went to Paris and studied 
under Boul anger and Lefebvre in the Academie Julien, winning the gold 
medal of the studio at the end of his first season. He has been a pro- 
fessional painter since 1879. Is a member of the Ten American Painters. 
Has lived much abroad in Brittany, France, and in Cornwall, England, 
but since 1893 has lived chiefly in New York. 

It was from Brittany that he sent to the Paris salon of 1882 his 
painting "The washerwoman" which brought him honorable mention. 
This model was rendered famous by serving as the heroine for Blanche 
Willis Howard's novel, "Guenn" which was written that year at Con- 
cameau. 

Mr. Simmons painted Breton themes exclusively until he took up his 
residence in St. Ives, Cornwall. Here he became associated with a colony 
of English artists and here he painted his successful "Mother and child," 
and a splendid marine of the Bay of Lelant. His pictures of the Bay of 
St. Ives are among the most beantiful and poetic works of the kind that 
we owe to any modern artist. They have been exhibited at the Royal 
Academy, London. (Brush & P. 5:241.) 

Among other popular paintings may be mentioned : 



"Study at Concarneau" 
"Corner of the market" 
"Summer" 
"Breakfast" 
"The winnowers" 



"Bout de la cour" 
"Low tide" 

"The carpenter's son" (considered 
one of his best works ) 



His mural decorations have been highly praised by critics. Of those in 
the Library of Congress, Washington, D. C. (a series of nine paintings 
representing the Muses) Arthur Hoeber says: "The work is thoughtful, 
serious and able; and besides the admirable technical excellence dis- 
played there is felt the intellectual power behind the composition." 

"His decorations of the Astor gallery of the Astoria, New York, rank 
among the finest artistic achievements that the country can boast; and 



223 

the artist has never surpassed the standard that he has here set for 
himself." (King's ''American mural painting.") 

"Mr. Simmons is a painter of remarkable versatility and his work is 
distinguished by freedom of execution, exquisite drawing, repose and 
much charm of color." 

Sloan, John, (P., I., E.) b. Lock Haven, Pa., August 2, 1871 Studied 
in the evenings for a short time at the Pennsylvania Academy of the 
Fine Arts, Philadelphia, but in general he may be said to be self-taught. 

For several years he was staff artist on the Philadelphia Press; later 
was instructor in Art Students' League, Philadejphia. 

The following extracts are from an article which appeared in Crafts- 
man 15 : 559 : 

"He early learned to handle the etcher's needle with a measure of dis- 
tinction, but he did not take up painting until about ten years ago. 

"In 1904 he left Philadelphia and since then he has made his home in 
New York City, just outside the Tenderloin district. 

"John Sloan is classed as a member of what is known in our academic 
art circles as the Revolutionary gang, or the Black school. 

"One finds a literary analogy to Sloan's art in the works of both 

Dickens and Balzac John Sloan, both in his paintings and in the 

brilliant relentless little etchings which give such vivid glimpses of New 
York life, shows no tendency to grasp human wretchedness in the mass 
but rather to show here and there a detached bit of life which has the 
power of suggesting the whole turbid current. 

"The coffee line" received honorable mention at the Carnegie Insti- 
tute 1905 and was the most talked of picture of the entire exhibition. 
The scene of "The coffee line" is Madison Square on a bitter blustery 
night in winter where the shivering unemployed are forming a ragged 
waiting line at the rear of a hot coffee wagon. Startling in its fidelity, 
the picture displays Sloan in one of his most tense and dramatic moods." 

Smedley, William Thomas, (P., I.) b. Chester county. Pa., March 26, 
1 858. Entered newspaper office at fifteen ; studied engraving in Phila- 
delphia and art in the Pennsylvania Academy of the Fine Arts ; went to 
New York in 1878, and later to Paris where he studied under Jean Paul 
Laurens. He opened a studio in New York in 1880 and has since been 
actively engaged as illustrator for Harper's and other standard period- 
icals. In 1883 he was engaged by publishers of "Picturesque Canada" 
to travel with the Marquis of Lome through the west and Northwest 
Canada and illustrate the work; has since made several sketching tours 
in United States and in 1890 around the world. 

In 1881 he made his first contribution to the National Academy of 
Design, New York, and in 1888 was represented, for the first time, in the 



224 

Paris salon. la 1890 won the William T. Evans prize with ^'A Thanks- 
giving dinner." 

As an illustrator, Mr. Smedley depicts high and low life with equal 
skill. 

His illustrations of Warner's ''Golden house" and HoAvells' "Their 
silver wedding journey" may be cited as examples of his success in one 
direction, and those of T. A. Janvier's ''Casa Napoleon" and Miss Mur- 
free's ''Strange peoples' country" of his success in the other. 

Eilected member of the National Academy of Design, New York, in 
1905. 

Burlington magazine says: "Smedley seems like an American Ghir- 
landajo." 

''His pen execution, free and unrestrained, displays the habit of the 
sketcher." 

Smillie, James D., (P.. E.) b. New York, July 16, 1833; d. September 
14, 1909. The son of a jeweler and silversmith, he did etching before he 
was eight years old. The sentimental bias of early years is shown in 
a weeping willow and tombstone, while a struggle to break the bonds of 
conventionality is evident in a processional line of six or eight black- 
looking buffaloes. He says: ''If I remember rightly, sun, moon and 
stars appeared in the firmament." At fourteen years of age he made 
ambitious illustrations of Milton's "Paradise lost." 

In 1862 he went abroad to study, having previously been employed in 
bank-note engraving. In 1864 he abandoned engraving and took up 
painting. In 1865 he was elected an associate member of the National 
Academy of Design and an academician in 1876. Was the founder of the 
American Water-color Society, serving as president and treasurer. It 
was to the efforts of Mr. Smillie and Dr. L. M. Yale, an amateur etcher 
of merit, that the organization of the New York Etching Club was 
effected. 

He etched almost the entire work on the large plates, "Childhood," 
Manhood" and ''Old age" after Cole's painting entitled "Voyage of life.'^ 

Upon the formation of the Painter-Etchers Society of London in 1860, 
(Sir Francis Seymour-Haden, president), he Avas made one of the "orig- 
inal" fellows. Representing American etchers, he made a collection of 
their productions and sent them to the first exhibition of that society 
in London. 

"He is possessed not only of the qualities needed by an original etcher, 
but the powers of adaptation." 

Smith, FtiANcis Hopkinson, (P., I.) b. Baltimore, Md., October 23, 
1838; d. New York City, April 7, 1915. He belongs to a family of art- 
ists, his great grandfather, Francis Hopkinson, a signer of the Declar- 



225 

ation of Independence, being an amateur in water-color and his grand- 
father, Judge Joseph Hopkinson, the first president of the Pennsylvania 
Academy of the Fine Arts. When a boy Mr. Smith began to paint and 
has made thousands of sketches and studies in the open air. He not 
only seems at his strongest in charcoal but he prefers it to lead, to oils 
or to water-colors ; as an artist he is substantially self-taught. 

His paintings are all of a summer-like character. "Franconia Notch" 
is remarkably successful in the delineation of falling water and the moss- 
covered rocks which line the ravine. 

Of his views of Venice, Isham says : '"They are not emotional, they are 
not subtle, they are not tonal, but they are very charming with their 
delicately colored skies, their luminous air, their soft sunlit marbles and 
clear cool shadows." 

"His water-color sketches have a softened brilliancy, a breadth of 
treatment and a simplicity that gives evidence of practical skill and 
caiTying the idea that the effort was one of expression and that he has 
portrayed the scene just as it was at the time he sketched it." (Nat. 
Cyc. Am. Biog.) 

"In his cloud effects and in his representation of limpid water Mr. 
Smith shows very exceptional ability." 

He has achieved distinction as an artist, author, lecturer, critic play- 
wright, engineer and expert bridge constructor. 

Smith, Jessie Willcox, (P., I.) b. Philadelphia, Pa. Educated in 
private schools; studied ar-t at the Pennsylvania Academy of the Fine 
Arts and under Howard Pyle at Drexel Institute. 

Miss Smith was a kindergarten teacher until her health failed ; she has 
been engaged as an artist and an illustrator since 1890 and her work is 
seen in all the leading American magazines. Her first actual work was 
in the advertising depar-tment of the Ladies' Home Journal. 

"Jessie Willcox Smith's particularity is the decorative use of every 
day subjects. She paints or draws in broad flat masses and is almost 
Japanesque in her use of the planes of her composition." (Bookbuyer 
24:201.) 

"Her gardens smell of roses and old-fashioned blooms." 

The series of her pictures entitled "A mother's day" is an idyll of 
American motherhood : "Mor-ning," "In the garden," "Checkers," "Bed- 
time." 

"Miss Smith's aim is definite and frank, her method vital and strong, 
and she is also a colorist of charm." 

In critically viewing the paintings in the American exhibit at the 
Roman Exposition of 1911, the dowager queen of Italy (herself a skilfull 
painter) expressed special delight with the picture entitled "The dark," 
the work of this talented artist. 
29 



226 

Jessie Willcox Smith is best known by her illustrations for Robert 
Louis Stevenson's "A child's garden of verses;" "A child's book of old 
verses" and "A book of old stories;" series of pictures: "Five senses/' 
"Children of Dickens'," "Seven ages of childhood," and "Child calendar." 

Smith, Letta Crapo^ (P.) b. Flint,Mich., July 4, 1862. Studied art at 
the Academie Julien, Paris; also pupil of Julius Rolshoven and George 
Hitchcock. 

Received bronze medal at St. Louis Exposition, 1904, for "The first 
birthday." 

This painting is now in the Detroit Museum of Art. Other works have 
been exhibited in Philadelphia, New York and Chicago. 

President Detroit Society of Woman Painters. 

SoNNTAG, William Louis, (P.) b. Pittsburg, Pa., March 2, 1822; d. 
New York, January 22, 1900. Went to Cincinnati to study art in his 
boyhood ; also studied in Europe. Made his home in New York City in 
1854. Associate member of the National Academy, 1860; academician, 
1861. 

"Some of his best landscapes illustrate the picturesque scenery of 
Western Virginia." 

South wick, Elsie Whitmorb, (Min. P.) b. Providence, R. I. Pupil of 
Prinet, Dauchez and Madame Chennevieres, Paris. 

Besides interesting miniatures that are purely pictorial, Miss South- 
wick has been unusually successful with her portraits. 

"Her nudes are wonderfully delicate in line and color, subtle shades 
of pink and rose predominating. 

"Vividness of color is characteristic of Miss Southwick's work. She 
loves vermilion — gay blues and yellows and violet she likes ...... ma- 
roon and brown and other dull tones are almost tabooed in her work. 

The peasants of Brittany are a source of interest to her as subject 
matter" 

She also paints in oil and pastel and sketches in crayon. In all her 
work she shows the firm and direct drawing, the vigorous and gay color- 
ing, the strong character that are evident in her miniatures. (Arts & 
D. 1:205.) 

Sperry, Edward Peick. Member of American Society of Mural Paint- 
ers, and New York Arch. League. Specialty, stained glass. 

Stanley, James M., (P.) b. Canandaigua, N. Y., January 17, 1814; d. 
April 10, 1872. 

In 1834 he removed to Michigan and in 1835 commenced the profession 



227 

of portrait painting in Detroit. Went to Chicago in 1837 and for the 
following two years he painted portraits of Indians and took sketches of 
the Indian country in the region of Ft. Snelling, Minn. Subsequently he 
followed his profession in New York City, Philadelphia, Baltimore and 
Troy, N. Y. In 1842 he traveled extensively over the western prairie, 
painting the portraits of the leading warriors (in full costume) around 
Fort Gibson, Ark., and in Texas and New Mexico. After spending some 
time in the Hawaiian Islands he returned and lived in Washington, D. C, 
then took up his permanent residence in Detroit, Michigan. 

Mr. Stanley placed a valuable collection of portraits of the Indian 
chiefs of America in the Smithsonian Institution ; these were destroyed 
by fire in 1865; there were 152 paintings. One of the most important 
paintings, "The trial of Bed Jacket," was exhibited in all the principal 
cities of America and Europe and finally placed in Detroit; valuable 
both historically and artistically it was appraised at |30,000. His por- 
traits of distinguished men from all parts of the United States won him 
deserved renown. 

Mr. Stanley was the organizer of the Western Art Association and one 
of the founders of a gallery of painting that in later years became a 
permanent and valuable acquisition to Detroit. (Nat. Cyc. Am. Biog. 
6:467.) 

Stanton, Lucy May, (Min. P.) b. Atlanta, Ga., May 22, 1875. Pupil 
of Colarossi Academ3% Simon, Blanche, Gandara and A. Koopman in 
Paris. Member Pa. Society of Miniature Painters. Specialty, portraits, 
also teacher. 

Miss Stanton's name is included in a group of miniature painters whose 
work is commented on as follows : "Their miniatures are executed in a 
broad, free style, difficult to attain on ivory, but verv^ delightful when 
done with the spontaneity and freshness of color exhibited in the work of 
these artists. The color in these is spread on the ivory like a stain and 
is left untouched save for a few accenting touches here and there." 

Steele, Helen McKay (Mrs. Brandt T. Steele), (P., I., Stained glass 
designer) b. Indianapolis, Ind. Pupil of T. C. Steele and William For- 
syth. Specialty, portrait sketches and designs for stained glass. 

Stephens, Alice Barbeir, (I.) b. Salem, N. Y., 1858. Was educated in 
the public schools of Philadelphia; received her art education in the 
Philadelphia School of Design for Women and in the Pennsylvania Aca- 
demy of the Fine Arts. She has been wood-engraver for Scribner's and 
illustrator for Harper's, Century and other magazines; has also illus- 
trated for the Ladies' Home Journal, and taught portrait and life classes 
in the Philadelphia School of Design for women. Although Mrs. Stephens 



228 

has studied in Par-is in the Academie Julien and at Colarossi's she re- 
gards her development due to her Philadelphia instruction and exper- 
ience in her own studio. 

There is a peculiar tenderness in her conception of childhood, entirely 
free from prettiness and sentimentality. 

'^Alice Barber Stephens is a talent somewhat akin to Sterner. She is 
known for her imagination and facile powers of expression." (Hart- 
mann.) 

^'Although nearly all of her pictorial compositions are constructed and 
executed with understanding, they are seldom spontaneously dramatic 
and it is therefore in pictures of quiet scenes and rural incidents that 
Mrs. Stephens excels." She regards the illustrations for ^'Fishin' Jim- 
my" as among her most satisfactory achievements. The Bret Harte 
pictures and the illustrations for ''John Halifax, gentleman," and ''Mid- 
dlemarch" are in another vein and one in which Mrs. Stephens is not 
quite so convincing." 

The beautiful illustrations for James Lane Allen's ''In Arcady" were 
made by her for that story at the author's own request. She was Conan 
Doyle's selection, also, of an illustrator for his "Stark Monroe" papers. 
(Brush & P. 6:241.) 

Sterne, Maurice, (P., E.) b. Libau, Russia, 1877. When fourteen 
years of age emigrated with, his widowed mother to New York. He 
attended night school ; later joined a class at the old Academy of Design 
and attended other art schools in the city. He won prizes with ease. 
William M. Chase encouraged and honored him by purchasing one of 
his canvasses for a substantial sum of money. He also achieved local 
fame by making a series of etchings, chief among them the Coney Island 
set; he assisted the late James D. Smillie as instructor of etching. He 
went to Europe in 1904, and studied in Greece and tbe Orient. 

"Sterne's plates are notable for their sincerity, freshness and novelty, 
and they received special and very favorable mention when they were 
afterw^ards exhibited in the Paris salons." 

"In balance and color, transition of tones, and in their savage nudity 
they resemble the work of Matisse, but Sterne is not a reflection of the 
French so-called post-impressionistic movement." (Int. studio 46:iii.) 

"Eockaway beach" and "Harbor scene" are probably his most import- 
ant plates, though "Maggie" was a prize winner, and many of his por- 
traits particularly "The reader" and "A profile" are especially delicate, 
and finely etched." (Brush & P. 10 : 99.) 

Sterner, Albert Edward, (P., I.) b. London, Eingland, November 8, 
1863. At the age of eleven, his family went to Birmingham, England 
to live and he entered King Edward's School at the head of a competitive 



229 

list of seven hundred students ; took the prize in drawing and after study- 
ing at the Birmingham Art Institute, where he won a scholarship, went 
to Germany in his fifteenth year. When he was eighteen he came to his 
parents who had preceeded him to Chicago. Here he took up lithography, 
scene painting and drafting on wood for engravers and designers. 

In 1885 took up his residence in New York, where he illustrated for 
^'Life/' St. Nicholas," and '^Harper." Three years later went to Paris 
and studied at the Ecole des Beaux Arts and at Academie Julien under 
Boulanger and Lefebvre. Received honorable mention in 1891 for a 
painting in oil "The bachelor" exhibited in the salon, to which he was a 
regular contributor. Associate member National Academy of Design, 
1910. 

He has illustrated ''Prue and I" by George William Curtis, w^orks of 
Edgar Allen Poe and "Eleanor" by Mrs. Humphrey Ward. 

"He is an admirable painter, a soft, rich and brilliant colorist. This 
quality of color finds its way into his black and white. His chief quality 
is his artisticness. He is a conservative radical in art." (Quarterly Il- 
lustrator Vol. 2.) 

Mr. Sterner has recently appeared in a new role — that of making por- 
traits in red chalk — called by the French "sanguines." (Int. studio 
35:liv.) 

Ernest Knaufft says: "The mantle of Edwin A. i^bbe}" has fallen upon 
the shoulders of Albert E. Sterner, who is almost the sole representative 
of sentiment in illustration. His technique is not so expert as that of 

Abbey but at his best he far transcends the average illustrator, 

and we find the genuine ring of art, the true poetic feeling dominating 
his productions." 

"Like Blake and Poe in their poetry, Mr. Sterner sets aside the rules 
of convention and breaks loose from the leading strings of schools, his 
touch now poignant, now languid, is the touch of a musician turned 
draughtsman, and the result is most elusive." 

Stevens, Heilen B., (E.) b. Chicago, 111., February 8, 1878. Pupil 
of the Art Institute, Chicago, and of Ftank Brangwyn in England. 
Teacher of etching at the Art Institute, Chicago. 

Stewart. Julius L., (P.) b. Philadelphia, Pa., 1855. Was a pupil of 
Zamacois, Gerome and R. de Madrazo. 

Received honorable mention at Paris salon, 1885 ; third class medal 
salon of 1890; gold medal, Berlin, 1891; grand gold medal, Berlin, 1895: 
gold medal, Munich, 1897 ; Order of Leopold of Belgium, 1895 ; Legion of 
Honor, 1895, officer, 1901; grand gold medal, Munich, 1901: Associate 
Soci^te Nationale des Beaux Arts, 1895 ; member, 1899. 

^'In result of Fortuny's influence Stewart has become a thorough man 



230 

af the world, a painter of society, and one of captivating grace, whose 
^Hunt ball' and 'Five o'clock tea' were amongst the most refined pictures 
of the Paris Exhibition of 1889.'' (Miither.) 

StiliLWEill, Sarah S., (I.) is known as the delineator of fully clothed 
little girls, as for instance the pair investigating the lions' den in the back 
of a recent Harper. 

She was a student in the Drexel Institute in Philadelphia and owes, as 
do all the younger artists of this group, much to the instruction of Mr. 
-Howard Pyle. She is a close observer of child life; has illustrated a new 
edition of Mrs. Dodge's '^Rhymes and jingles" which shows her char- 
acteristic style. She rarely uses other medium than oil in her work. 

Her work is done in her Philadelphia studio. 

Stuart, Gilbert, (P.) b. Narragansett, R. I., December 3, 1755; d. 
Boston, Mass., July 27, 1828. Began painting at the age of ten. and 
when thirteen years old was commissioned to paint portraits of Mr. and 
Mrs. John Bannister, which shows his early precocity. His first tutor 
was a Scotch painter of some note, Cosmo Alexander, Avho came to New- 
port when the boy was fifteen. Two years later Stuart traveled through 
the south Avith Alexander and later accompanied him to Scotland where 
he was established in the University of GlasgoAv and under the care of 
Sir George Chambers, but both peer and painter died Avithin a short inter- 
val of each other, leaving Gilbert alone, friendless and penniless in a 
strange country; he AA^orked his way back home, reaching his father's 
house in rags. 

In 1775 he went to England where through Benjamin West, who recog- 
nized his talent, he obtained much faA^or and distinction in London. He 
painted three kings and many celebrated people. His representation of 
Kemble, the great actor, as '' Richard the third," is considered one of the 
stTOHigest examples of brush work ever produced in England. Returning 
to the United States in 1792, he opened a studio in New York. 

His famous portrait of Washington — the ''Athenaeum portrait" — noAV 
in the Boston Museum of Fine Arts, is the only one to be universally 
accepted as a faithful likeness of the father of his country. The ''Gibbs- 
Channing" Washington — the one showing the right side of the face — 
is in the Metropolitan Museum of Art, New York. 

Gilbert Stuart still holds his place among our best painters, and even 
among his great contemporaries in England. Tuckerman says : "His 
best portraits are glimpses of character." 

Sadakichi Hartmann has written : "The traits for which Stuart is most 
to be praised are the vitality and character he infuses into his portrait 
and the excellent coloring, when he is at his best. Then his flesh glows 
and is transparent. But he neglected composition, caring for nothing 
but the heads, slighting all details." 



231 

Sully, Thomas, (P.) b. Horncastle, Lincolnshire, England, June 8^ 
1783; d. Philadelphia, Pa., November 5, 1872. His parents were actors 
and in 1792 with their family of nine children came from ifcngland to 
Charleston, South Carolina. Lawrence Sully, his brother, was a minia- 
ture painter in Richmond, Ya., and in 1799 Thomas joined him and 
painted Avith him until his (Lawrence) death in 1804. 

In 1806 he removed to New York; then for a short time resided in 
Boston for instruction from Gilbert Stuart. He studied under Benjamin 
West in London in 1809, and settled permanently in Philadelphia in 
1810 when he became the most fashionable painter of the day. 

He visited England in 1837 and painted a full-length portrait of Queen 
Yictoria. Between 1820-40 he exhibited ten portraits at the Royal Acad- 
emy. 

At an historical portrait exhibition at the Pennsylvania Academy of the 
Fine Arts, 1887-88, Thomas Sully was represented by 106 pictures, ^'show- 
ing great versatility and extraordinary powers of conception and execu- 
tion." 

''Sully is the connecting link between the dawn and meridian of Amer- 
ican art." (Tuckerman.) 

''Thomas Sully was called the 'Sir Thomas Lawrence of America.' 

His general style is similar to that of the famous painter of Etiglish 
women." 

Sylve'Ster, Frederick Cakes, (P.) b. Brockton, Mass., October 8, 1869. 
^Ir. Sylvester was professor of drawing and painting at Newcomb Col- 
lege, New Orleans, 1891-2; instructor in drawing in St. Louis high 
school, 1892-09. He has done mural work and is the author of "The great 
river" poems and pictures, but is better known as the "Painter of the 
Mississippi." 

One of his best canvases is of the Eads bridge, St. Louis. The painting- 
was awarded a medal at the St. Louis Exposition, 1904. 

Symons, Georgei Gardner, (P.) b. Chicago, 111., 1861. He studied art 
at the Art Institute, Chicago, in Paris, Munich and London; is a mem- 
ber of the National Academy of Design, Royal Society of British Artists, 
Union Internationale des Beaux Arts et des Lettres and Society of 
Washington Artists; has been awarded the Carnegie prize, National 
Academj' of Design ; Evans prize^ Salmagundi Club, prize and gold 
medal of National Arts Club and many others. 

Several of Mr. Symons' best and most favorably received paintings 
have been snow scenes and he stands exceptionally high as a snow 
painter. In his western scenes he shows the gorgeousness of the Grand 
Canyon or the sombre green of the desert. He has painted the Berk- 
shires in all seasons. 

I i :. 



232 

''Mr. Symons lias painted many admirable snow scenes but his aut- 
umns have an immense charm and poetic quality and his springs a 

Chaucer-like freshness and undertone of potent life .'In color Mr. 

Symons is vivid and powerful and in his distances particularly happy in 
the sense of far-reaching depth and the gradation of values." (Outl. 
105:886.) 

"Winter sun" is owned hj the Art Institute, Chicago; "Snow clouds," 
Corcoran Gallery of Art, Washington, D. C. ; "Opalescent river," Metro- 
politan Museum, New York. 

"Winter evening" was accorded a position of honor in the 1914 spring 
exhibition of the National Academy. It shows the late afterglow seen 
across snowfields and reflected in a brook in the foreground. 



O'ther notable paintings are : 

"Winter stood at the gate" 
"Rock-ribbed hills in winter" 
"Winding river" 
"Winter glow" 
"Yonth" 



"Under a blue sky" 

"Snow clad fields in morning 

light" 
"Sorrow" 
"The brook" 



Mr. Symons is an out-door painter; he does his painting entirely 
out-of-doors. 



Taft, Lorado^ (S.) b. Elmwood, 111., April 29, 1860. He was educated 
at the University of Illinois where his father, Don Carlos Taft was a pro- 
fessor of geology. His artistic training was completed in Paris where he 
studied three years at the Ecole des Beaux Arts. 

Mr. Taft has been instructor in the Art Institute of Chicago since 
1886 ; lecturer of art, university extension department. University of 
Chicago, 1892-1902; professional lecturer on art since 1909. He was 
elected associate member of the National Academy of Design in 1909 ; 
full member, 1911. His "History of American Sculpture" is a standard 
vfork. 

Mr. Taft's first great success was the commission for two groups which 
were at the entrance of the Horticultural Building of the World's Col- 
umbian Exposition — "The sleeep of the flowers" and "The awakening of 
the flowers." The "Mountains" and the "Prairie" at the St. Louis Expo- 
sition were his next conspicuous work; "Solitude of the soul" won for 
him a gold medal. 

"The spirit of the lakes" the group on the summit of the Ferguson 
Fountain erected near the Art Institute, on the lake front, Chicago, is 
the first large and purely ideal group erected in America. It represents 
the great lakes typified by five beautiful female figures grouped on a 
pyramid of rocks pouring water from shells — "Superior" poised on the 



233 

summit bends to ''Michigan'' and ^'Huron,'' below are 'Erie'' and "On- 
tario." 

^'The blind" suggested by Maeterlinck's "Les aveugles" is placed by 
scholarly critics among his most important works. 

His colossal statue of Washington for the campus of the University 
of Washington at Seattle, is also an important work. The Columbus 
Memorial Fountain which stands on the Plaza in front of the Union 
station at Washington, D. C, was dedicated last summer and is among 
his later works. 

On Eagle's Nest Bluff at Kock River, 111., a lofty promontory 150 feet 
high stands his colossal statue of the Indian Chief Black Hawk. It is 
made of concrete, is 50 feet high and weighs 300 tons. 

One of the greatest civic projects for beautification ever undertaken by 
a city has been started by Chicago. It is to convert the Midway Park 
into a beautiful boulevard. The trustees of the Ferguson fund have com- 
missioned Mr. Taft to start the work, he having offered to devote the 
remainder of his life to the transformation. There will be commemor- 
ated in sculpture persons and events in American history. 

Mr. Taft is or-iginal, impressive, artistic and emotional. 

Taxxek, Henry Ossawa, (P.) b. Pittsburg, Pa., June 21, 1859, the son 
of Bishop B. T. Tanner of the African Methodist church, is an Afro- 
American painter who became famous in Paris. He studied in the Penn- 
sylvania Academy of the Fine Arts under Thomas Eakins; was a pupil 
of Jean Paul Laurens and Benjamin-Constant, Paris. Is a member of the 
Paris Society of American Painters, and Societe Internationale Peinture 
et Sculpture, Paris ; associate member National Academy of Design, 1909. 

Since 1895 has exhibited every year in the Paris salon. His first work 
was ''The sabot maker." In 1896 he entered his "Daniel in the lions' den" 
which received honorable mention. In 1897 he showed "Raising of La- 
zarus" which won a medal and was purchased by the French government 
for the Luxembourg ; "Christ and the disciples at Emmaus" has also been 
placed in the Luxembourg. 

In 1898 "The annunciation" was exhibited and proved one of the suc- 
cesses of the year. "The picture has spirituality so far that it suggests 
the mystery of the conception." (Caffin in "Artist" 24:xiv.) 

In 1900 he showed "Nicodemus coming to Christ." In his "Flight of 
Judas" his idea of dramatic power seems to be carried to the most force- 
ful expression yet achieved; it has the accent of inspiration." (Outl. 
64:796.) 

His "Five wise and five foolish virgins" was given a place of honor in 
the salon of 1908. 

M. M. Benjamin-Constant, Gerome, and in fact all the leaders of 
French painting today have recognized Mr. Tanner a true artist and man 




HENRY OSSAWA TANNER. 



235 

and have come to esteem him for his personal qualities as for those which 
he has shown in his work. 

An eminent art critic says : ^'In religious feeling Mr. Tanner seems 
nearer to Fra Bartolommeo than to any other artist past or present." 
A marked and welcome quality in all his pictures is atmosphere. 

Tarbell, Edmund C, (P.) b. Groton, Mass., April 26, 1862. Pupil of 
Grundmann at the Museum of Pine Arts, Boston; also studied under 
Boulanger and Lefebvre in Paris. He has been instructor in drawing 
and painting in the Boston Art Museum since 1889' and been awarded 
many prizes for his paintings including Pennsylvania Academy of the 
Fine Arts medal of honor, 1908, and gold medal of the iS^ational Aca- 
demy of Design, 1908. 

Is a member of the Ten American Painters. Associate member Na- 
tional Academy of Design, 1894; full member, 1906. 

Tarbell's interiors compare favorably with the paintings of the famous 
Dutch painters and none better than he has pictured our contemporary 
home life. Sunlight and atmosphere pervade the rooms which Tarbell 
pictures. "'To Tarbell his art is primarily, almost exclusiveh^, a medium 
of expression of abstract beauty." 

Philip A. Hale, the well known artist critic, wrote in 1898 : "Tarbell's 
'Venetian blind' is the best picture that has been done in America" and 
the jury of the Carnegie Institute endorsed this opinion by awarding the 
picture the gold medal. 

"One of the things that makes Tarbell's paintings different from that of 
other men is the Avay he treats shadows." (Arts and D. 2: 129.) 

Caffin said: "Girl reading" seems a lesson in the holiness of beauty. 
His art, in fact, has the quality of symbolism by which the modern mind 
is endeavoring to interpret "the substance of things hoped for, the evi- 
dence of things not seen." His vigorous, dashing brush work is always 
sure to attract attention. This was the principal merit of his prize pic- 
ture— "The bath." 

"Tarbeirs characteristics are brilliant versatility, dexterity with the 
brush, and spontaneousness of effect ; all regulated by innate good taste, 
for he has little or no reserve power." (The artists, 27:xxvii.) 

Frederic W. Colburn, in an appreciative article on Tarbell, says: 
"Among various groups and factors of painters and by the public at 
large, he has come to be regarded as among the most able of living 
painters." 

In writing of "Girl reading," Julia de Wolf Addison, says: "Tarbell 
is past master in making intentional effects appear quite accidental, 
giving this picture a peculiarly natural and easy quality both in color 
and form." 



236 



"Tarbell regards the human brain merely as a medium for 

perceiving effects of light." (Miither.) 

Kenyon Cox has written : ''In the work of Mr. Tarbell there is an 
elegance of arrangement, a thoroughness in the notation of gradation of 
light, a beauty and a charm that were learned of no modern.'^ 

And again : '^The best example of Mr. Tarbell's draughtsmanship is 

perhaps the head of the ^Girl mending.' The head of the girl in 

'Preparing for the matinee' is not so fine in type, but its modeling in the 
delicate half-shadow cast by the hat and the upraised arms, is nothing 
less than masterly." 

"No one since Vermeer himself has made a flat wall so interesting — has 
so perfectly rendered its surface, its exact distance behind the figure, the 
play of light upon it or the amount of air in front of it. (Burlington 
Magazine 14: 259.) 

Taylor, William Ladd, (P., I.) b. Grafton, Mass., Dec. 10, 1854. Edu- 
cated at Worcester, Mass., and in art schools of Boston and New York 
and studied 1884-85 under Boulanger and Lefebvre, Paris. Traveled ex- 
tensively, making a particular study of mediaeval architecture, costumes 
and customs. Settled in Boston 1888, and has since that time been a 
well known painter and illustrator. 

The work which has given Mr. Taylor most reputation, and rightly, is 
his illustration of Owen Meredith's poem entitled "The earl's return." 

Illness and a year's sojourn in Colorado resulted in several paintings 
of the Eocky mountains. "The Caribou hunter" and "Shooting the Rap- 
ids" are excellent works of the period. 

Recent works as an illustrator are selections from Longfellow's poem, 
the psalm series, a series of New England scenery, and a book of pictures 
of American life. 



"The boy Christ" 

"Evangeline" 

"Minnehaha and Hiawatha" 

"The village blacksmith" 

"The hanging of the crane" 

"Maidenhood" 

"The old clock on the stairs" 



"The building of the ship" 
"The golden legend" 
"Priscilla and John Alden" 
"Rosita" (Illustrating Bret 

Harte's "The mystery of the 

hacienda") 
"The children's hour" 



Psalm series : 

"When I consider the heavens." (Ps. viii.) 

"The Lord is my Shepherd." (Ps. xxiii.) 

"When I meditate on Thee in the night watches." (Ps. Ixiii.) 

"He shall give his angels charge over thee." (Ps. xci.) 

"I Avill lift up mine eyes unto the hills." (Ps. cxxi.) 

"Children are an heritage of the Lord." (Ps. cxxvii.) 



237 

Thayer, Abbott Henderson, (P., Mural P.) b. Boston, Mass., August 
12 1849. Began to draw and paint before he was ten years old. He was 
educated at Chauncy Hall School Boston, and before he was eighteen 
received as high as fifty dollars for dog portraits. 

He was first known in New York as an animal painter and it was not 
until he went to Paris (1875) and studied in the Ecole des Beaux Arts 
under Gerome and Lehmann that he began to make por-trait painting 
a specialty and to do some landscape work. Ts a member of the Aca- 
demia de San Luca, Rome, and of the National Academy of design, New 
York. 

'^Sleep," an idealized likeness of his eldest daughter as a sleeping- 
infant, was one of Mr. Thayer's earliest pictures to attract general atten- 
tion. His three masterpieces are "The yirgin," "The yirgin enthroned" 
and "Caritas." (His children were his models.) 

His chief work is the finely conceived mural decoration in Bowdoin 
College, Brunswick, Maine — a fresco representing "Florence" forms one 
of four lunettes. 

A few landscapes are : "Sketch of Cornish headlands," "Capri," "Mon- 
adnock in winter." 

The keynote of his art is simplicity and the chief characteristic of the 
subjects he chooses is a deep spirited meaning. 

"Abbott H. Thayer merited his inimitable position as a painter of the 
essential spirit of man since no one has fathomed deeper than he the 
mystery of infusing concrete human beauty with the most elusive of 
divine significance." (Critic 46:423.) 

Craftsman : "He paints symbolical figures and groups of great beauty 
in an austere but impressive style." 

"Tt is however as an interpreter of virginity that this painter is especi- 
ally distinguished His virgins, it has been well said, are ob\aously 

intended to be adored, but they are at the same time essentially human." 
(Int. studio 39:187.) 

TiiAYEiR, Theodora W.. (Min. P.) b. Milton, Mass., 1868; d. August 6, 
1905. Studied with Joseph DeCamp, Boston, and was an active member 
of the American Society of Miniature Painters and of the Copley Society 
of Boston ; taught for several years in the New York School of Art and 
was one of the instructors at the Art Students' League; was recognized 
as one of the best of teachers. 

Her fine portrait of Bliss Carman is one of the memorable achieve- 
ments in American miniature painting. At one of the society's exhibi- 
tions, she showed "a wee miniature of a wee speck of humanity, a baby's 
head painted in a cloud of sweet mist." (Brush & P. 6 : 26.) 

Her work is wonderfully full of character and charm. She painted 
with orrace and nobility of treatment. 



238 



Tiffany, Louis Comfort^ (P., Stained-glass designer) b. New York, 
February 18, 1848. Pupil of George Inness and Samuel Colman in New 
York and Leon Bailly in Paris. Keceived gold medal for applied arts at 
the Paris Exposition, 1900; elected chevalier of the Legion of Honor of 
France, 1900; grand prize at Turin Exposition, 1904; associate member 
National Academy of Design, 1871; academician, 1880. Is art director 
of the Tiffany studios. 

It is Mr. Tiffany's achievement in stained glass w^ork that has brought 
him world fame. It is acknowledged by all experts that the great ad- 
vance made in this country in both colored windows and; wall mosaic 
WT)rk is largely due to the discoveries and inventions of Mr. Tiffany, 
particularly that of Favrile glass. He has received many personal hon- 
ors, such as being made a member of the Society National des Beaux 
Arts, Paris, also of the Imperial Society of Fine Arts, T'okio, Japan. 

In painting, Mr. Tiffany makes a specialty of oriental scenes. Well 
known subjects in oil : 



^'Street scene in T'angiers" 
"Feeding the flamingoes" 
"Dock scene" 
"The cobblers at Boufarick" 



"Market day at Nuremberg" 
"Study of Quimper, Brittany" 
"Duane street. New York" 



TiLDEN, Douglas, (S.) b. Chico, Oal., May 1, 1860. At the age of five 
he lost his hearing as a result of scarlet fever and was educated in the 
state institute for the deaf, Berkeley, Oal. He taught in the institute 
from 1879-87. It was not until 1887 that he took up the study of sculp- 
ture. Among his early work, the first to attract favorable comment, was 
the "Tired wrestler." This he prodiuced while a teacher in the school at 
Berkeley. In 1887 he went to New York and became a student at the 
National Academy of DesigTi. Later he went to Paris and became the 
private pupil of Paul Chopin, himself a deaf mute. After spending 
seven years in Paris, he returned to the United States and from 1894- 
1900 was instructor in modeling at the Mark Hopkins Institute of Art, 
San Francisco. 

Mr. Tilden's "Baseball player," in Golden Gate Park, San Francisco, 
was exhibited in the Paris salon, 1889. "Tired boxer" won honorable 
mention in the salon of 1899. This work, unfortunately, was destroyed 
by fire. "Indian bear hunt" was exhibited in the salon, 1892, and has 
been placed in the grounds of the asylum for the deaf at Berkeley. 

Of the last mentioned group, a sympathetic critic says : "Tilden has 
caught the unmeasured poAver of the Indian to endure torture unflinch- 
ingly; for he represents him as all unheedful of the bear's savage grip 
upon the bare arm, while he fights for the life of his companion." (Sun- 
set M. 30:818.) 

A recent work of Mr. Tilden's is a monument in honor of Abbe de 



239 

PEspee, the first teacher of the deaf. It will be seen at the Panama- 
Pacific Exposition. He is now working on a statue of Joaquin Miller 
to be placed in an Oakland park; has also executed commissions for 
memorial monuments at Portland, Ore., Los Angeles and San Fran- 
cisco. 

"Considering Mr. Til den's work as a whole it impresses one princi- 
pally by its simplicity, directness and strength; its absence of mere senti- 
mental prettiness. (Overl. 31: 153.) 

TiLLiNGHAST, Mary ELIZABETH, (P., Stained glass designer) b. New 
York; d. December 15, 1912. Ptipil of John LaParge in New York; 
Carolus-Duran and Henner in Paris ; won several gold and bronze medals. 
Specialty, designs for stained glass. 

Trumbull, John, (P.) b. Lebanon, Conn., June 6, 1756; d. New York, 
November, 1843. The son of the colonial governor of Connecticut, Jona- 
than Trumbull, he was the greatest historic painter of America. A 
graduate of Harvard University, his artistic taste was awakened by 
familiarity with the portraits of Copley and Smibert. He served with 
distinction in the ar-mies of Washington and Gates. Early in 1777 he 
resigned from the army and devoted himself to art as a profession, 
going to London. In 1784 he conceived the idea of his historical pictures 
of the revolution and went to Paris where he painted his ''Declaration 
of Independence" assisted by the information and advice of Thomas 
Jefferson. 

In 1789 he returned to America. As an inaugurator of serious histori- 
cal painting, Trumbull bore a very worthj^ part, and he carried por- 
traiture to its highest limits by making portraits from life for all the 
chief figures introduced into his canvases. His portrait of General 
Washington (in the New Haven collection) must be regarded as a 
standard portrait of the father of his country. When Lafayette first be- 
held a copy of this picture on his visit to this country in 1824, he was de- 
lighted with its resemblance. Tuckerman says : "The most spirited 
portrait of Washington that exists — the only reflection of him as a sol- 
dier of freedom in his mature 3'ears, wor-thy of the name, drawn from 
life — is Trumbull's." 

Trumbull was commissioned to paint four of the eight commemorative 
pictures in the capitol at Washington. He was eight years at the task 
and received |32,000 for the four paintings: 

"Declaration of Independence" ''Surrender of General Burgoyne" 

"Surrender of Lord Cornwallis" "Resignation of Washington" 

Other important historical paintings are: "Battle of Bunker Hill," 
*'Death of General Montgomery," "Battle of Trenton," "Battle of Prince- 
ton." 



240 

^TrumbulPs works still hold their rank not only for their historical in- 
terest but for their artistic merit." Critics rank his ''Death of Montgom- 
ery" as the most spirited battle-piece ever painted. His portrait of 
Alexander Hamilton is one of the best portraits he ever did. 

Trumbull was the first president of the Academy of Arts, New York. 

Tryon, D wight William, (P.) b. Hartford, Conn., August 13, 1849. 
Pupil of C. Daubigny, Jacquesson de la Chevreuse, A. Guillemet and H. 
Harpignies in Paris. Keceived gold medals of the American Art Asso- 
ciation, New York, 1886 and 1887 ; third Hallgarten prize of the National 
Academy of Design, New York, 1887; gold medal of Carnegie Institute, 
Pittsburgh, 1898 ; was awarded the Webb prize in 1889 for his ''First 
leaves," and first-class medal at the Munich International Exposition in 
1892 for his "Rising moon." He is a member of the National Academy of 
Design, New York, and professor of art in Smith College. 

"He masters, like no one else, the uncertain tonalities of dawn and twi- 
light. Tryon's pictures are almost, literally speaking, musical in their 
effect, not unlike the pizzicato notes on the 'A' string of a violin. His 

parallelism of horizontal and vertical lines is like melodic phrasing 

Tryon has reached the calm perfection of Japanese art." (Hartmann.) 

Characteristic color melodies : 

"Before sunrise — June" "October" 

"A lighted village" "December" 



a 



Sea — morning" "TVilight" 

"Sea — sunset" "The evening star" 

"Sea — night" "Springtime" 

"Daybreak" "Summer' 



«?? 



"Morning" "Autumn" 

"Moonlight" "Winter" 

"April morning" "New England hills" 

Mr. Tryon has added much to the world's store of poetic interpretation 
of nature. Equally refined as his "poems of early spring" are his moon- 
light scenes and his snowy landscapes. He has interpreted sunsets, 
storms, mountains and rugged nature with as powerful a brush as has 
any painter. 

"In his pictures may be seen, as in Daubigny's, a silvery grey atmos- 
phere against Avhich the tracery of young foliage stands out in relief, 
green shining meadow^s and softly rippling streams, cornfields, apple 
trees and fruit gardens." (Miither.) 

Tucker, Allen, (P.) b. Brooklyn, N. Y., June 29, 1866. He has exhib- 
ited at the Paris Salon and international exhibitions held in New York. 
"The two painters who appear most obviously to have affected the 



241 

work of Allen Tucker are Monet and Van Gogh It is the land- 
scapes by Allen Tucker that most successful!}^ Indicate his attainments 
But it is Mr. Tucker's portraits that perhaps most clearly illus- 
trate both his strongest and his weakest points." 

^'Ice storm" one of his characteristic landscapes is ''brilliant in key 
and delicate in color." (Int. studio 52:xix.) 

Turner, Charles Yardley, (Mural P.) b. Balitmore, Md., November 
25, 1850. In 1872 he went to New York and entered the National Acad- 
emy of Design ; after spending three years in the school and taking a 
bronze medal and a money prize, he went to Paris and studied under 
Laurens, Munkaczy and Bonnat. In Holland he found the subject of his 
famous picture "The grand canal at Dordrecht ;" his best water-color is 
^'Dordrecht milkmaid." 

Mr. Turner was assistant director of decoration at Columbian Expo- 
sition, Chicago, 1898, and director of color at the Pan-American Expo- 
sition, Buffalo, 1901, and is a member of the National Academy of Design. 

His finest mural work is a series of wall paintings in the corridor of 
the Baltimore court house, the subject of which is the incident of the 
brig Peggy Stewart entering the harbor of Annapolis in 1774. 

His puritan subjects are particularly fine, and great favorites. Most 
noted are : 

"Courtship of Miles Standish" "The bridal procession" 

"John Alden's letter" "Martha Hilton" 

Mural work is in hotels Manhattan, Waldorf-Astoria, Martinique, 
and Bank of Commerce building. New York. 

Turner, Ross Sterling, (P., I.) b. Westport, N. Y., June 29, 1847; d. 
Nassau, Bahamas, February 12, 1915. Studied in Munich and in Italy. 
Was instructor Mass. Normal Art School and Mass. Institute of Tech- 
nology. 

A few of his best known works in oil and water colors are: 

"A small court in Mexico" "Flying Dutchman" 

"El Jardin, Modesto" "A Bermuda wedding" 

"A painted ship' 



v" 



The inspiration for his "Golden galleon" is said to have been derived 
from Lockhart's Spanish ballad, "Count Arnaldo's galley." 

"Above and beyond any qualities he possesses, and they are many, Ross 
Turner is a colorist. His is the rare sense which discriminates between 
^colors' and 'color.' " 

TwACHTMAN^ JoHN Henry, (P.) b. Cincinnati, O., August 4, 1853; d. 
31 



242 

Gloucester, Mass., August 8, 1902. Pupil of the National Academy of 
Design, New York, and of Frank Duveneck in Munich and Italy; studied 
also at the Academie Julien and under Boulanger and Lefebvre, Paris. 

He won the Webb prize, 1888; Temple gold medal, 1895, and was a 
member of the American Art Olub, Munich. In 1898 he founded the 
organization known as the Ten American Painters.* 

Caffin says : "In his 'Brook in winter' it is the soul, as it were, of the 
still cold dormant world that he has rendered. Never has been better 
expressed through the subtle resources of modern methods of painting the 
suggestion of the abstract." 

His artistic qualities are also well represented in 

"The hemlock pool" "The end of winter^' 

"Drying sails" "Round Hill road" 

"The torrent" "Landscape in spring" 



"He recognized as few can, the poetic side of snowy pastures and snow- 
bound woodland rills and marshes. His painting of the damp winter 
weather surcharged with latent snowfall has never been surpassed." 
(Innes "Schools of painting.") 

In his handling of the elements of natural scenery, particularly in 
representing snow upon the branches of trees, he shows a high degree of 
skill. (Nat. Cyc. Am. Biog.) 

Mr. Twachtman is supposed to have been the first American artist to 
employ blue shadows. 

From "An appreciation" published in the North American Review 
shortly after the death of Mr. Twachtman, the following extract is made: 

"In defining the quality of Twachtman's paintings, one would say that, 

first of all he was a master of Values'^as much so as Whistler 

One of his paintings instantly arrests the eye of the connoisseur by a 
certain aspect, as original as Thoreau, and sometimes curiously like him." 
(T. W. Dewing.) 

"The great beauty of design which is conspicuous in TVachtman's 
I>aintings is what impressed me always His use of line was rhyth- 
mic, and the movements were always graceful His work as 

color had delicate refinement and truth." (Childe Hassam.) 

"He painted as all men have done who have made great art ; he painted 
the atmosphere of his time." (Robert Reid.) 

"In tlie death of John H. Twachtman we lose one of our best land- 
scape painters The canvases which Twachtman has left us like all 

work of signally original merit, may prove for a time too fine a food for 
the general palate." (Edward Simmons.) 



* Society of the Ten xVmerican Painters was organized January. 1898. No particular aim 
except that of exhibiting independently of juries or)<^e a year. Original members : Benson, 
DeCamp, Dewing, Hassam, Metcalf. Reid, Sim.mons. Tarbell, Twachtman, Weir. 



243 

"To mj mind, he was in advance of his age to the extent that like 
many others, he lived ahead of his epoch." (J. Alden Weir.) 

None of our landscape painters surpasses him in subtle delineation of 
atmospheric effects and values generally. To many art critics, Mr. 
Twachtman ranks as the greatest American landscape painter. 

Ulrich, Charles Frederick, (P.) b. N. Y. October 18, 1858; d. Berlin, 
Germany, May 15, 1908. Studied at the National Academy of Design in 
New York and with Loefftz and Lindenschmidt in Munich. In 1884 he 
was the first recipient of the Clark prize at the National Academy of 
Design and; this picture "The land of promise" now belongs to the Na- 
tional Gallery of Art, Washington, D. C. 

His painting "The glass blowers of Murano" is now in the Metro- 
politan Museum of Art, N. Y., and marked the climax of his success. 

An associate member National Academy of Design 1883. 

He resided in Venice for many years and was recognized in art circles 
in Germany, France and England. 

"Critics praised his pictures for their exquisite technique, their finish 
in detail, their purity of color and their strength of character." 

Vail, Eugeinei^ (P.) was born of American parents at Saint Servan, 
Brittany, September 29, 1856; studied in Art Students' League, N. Y'., 
under Carrol Beckwith and William M. Chase and at Ecole des Beaux 
Arts, Paris, under Cabanal, later under Dagnan-Bouveret and Raphael 
Collin. Medals, prizes and distinguishing honors have come to Mr. Vail 
in recognition of his artistic ability. 

Four scenes of seafaring life, very beautiful in color and among the 
very strongest and best pictures of the kind at the Paris Exposition, 
1900, were "Ready about," "Port of Concarneau," "The widow," and 
"On the Thames." 



Other admired works are: 

"The hour of prayer" 
"Evening in Brittany" 
"Autumn near Beauvais" 
"Chemin de foi" 



"A rainy day" 

"Twilight" 

"Rio della Madonetta, Venice" 



VaiPs landscapes are marked by an exquisite sense of nature, at once 
delicate and full of force. The fisherfolk of Brittany are a favorite sub- 
ject with him, as are the Dutch peasants with Melchers. 

Miither says that Vail was influenced by Mesdag and DeNittis in his 
Dutch sea-pieces and pictures of the port of London, which are shrouded 
in a heavy, melancholy mist. 

Caffin says: "Eugene Vail while seeing into the soul of his subjects. 



244 

views it with a personal sympathy and interprets, so to speak, in terms 
of spirit rather than matter. That is to say, he does not compel your 
attention to the physical properties of the fibres and the landscape ; he 
envelops the whole in atmosphere, enriching^ it with somber but tenderly 
impressive harmon}^ of color ; so that the picture is as full of mystery as 
of suggestion. It puts us into spirit-communion with the place and its 
inhabitants; which as I understand it, involves a superior knowledge and 
at the same time an ackowledgment of how much there is unknowable. 
It represents the vision of a poet." 

Van Elten, Hendrik Dirk Kruseiman, (P., E.) b. Alkmaar, Holland, 
1829; d. Paris, France, July 12, 1904. When fifteen years of age was 
sent to Haarlem to study painting under C. Lieste, a landscape painter of 
repute. He won a gold medal at the International Exhibition at Am- 
sterdam in 1860 and Avas made a chevalier of the Order of the Lion of 
the Netherlands. He was a member of the Amsterdam and Kotterdam 
academies; came to New York in 1865, was elected academician of the 
National Academy in 1883; als^o a member of the American Water Color 
Society, New York Etching Club, and the Royal Society of Painter- 
Etchers of London. 

S. R. Koehler writes in the American Art Review, 1880 : ^Terhaps it 
would be permissible to class him as an 'international' artist for at the 
Centennial Exhibition of 1876 he exhibited as an American in the Amer- 
ican department and as a Hollander in that of the Netherlands 

Mr. Van Ellen's claim to be considered an American was long ago recog- 
nized by the National Academy of Design by his election in 1871 to the 

position of an associate in that body In his choice of subjects Mr. 

A^'an Elten seems to betray the Dutch blood that flows in his viens. He 
loves the flat expanse of the grain fields and the meadows, the quiet copse, 
the dilapidated hut or the river bank grown with reeds in which the fish- 
er-man may hide his boat, and he finds these subjects both here and in 
his native Holland." 

A group of 200 of his paintings was sold at the American Art Galleries 
in New^ York, April 27 and 28, 1905, under the auspices of the Artists' 
Aid Society of New Y^ork, bringing |9,335. 

Van Ingein, William Brantleiy, (Mural P.) b. Philadelphia, Pa., 
August 30, 1858. Pupil of Eakins in Philadelphia; LaF'arge in New 
York; Bonnat in Paris. Member Mural Painters; fellowship P. A. F. A. 

His best known mural work is a series of sixteen panels in the senate 
chamber of the state house, Trenton, N. J., entitled ''The cause of inde- 
pendence and prosperity." "He has done much mural work in private 
residences in Philadelphia. 



245 

"His attack of the subject is bold and candid, his sketches carefully 
wrought, his brushAvork adequate." (Arch. rec. 13:323.) 

Vbddek, Elihu, (P., S., I., Mural P.) b. New York, February 26. 1836, 
of parents Avhose ancestry is in the Netherlands. It is related that as a 
child he chewed sticks into brushes and spent his money for cheap paints. 
Very early he received instructions in art and in 1856 went to Europe, 
spending the winter in Paris studying in the Atelier of Picot. In the fol- 
lowing spring he went to Italy and spent four years there; returning 
to the United States in 1861 he opened a studio in New York. He was 
elected an associate member of the National Academy of Design in 1863 ; 
full member in 1865. 

Mr. Vedder returned to Rome in 1866 where he has since resided rarely 
exhibiting in the United States. 

''A note of mystery, a recognition of the infinite and unknowable forms 

a characteristic of Vedder's work It is calm, virile, intellectual, a 

mystery of which Darwin and Huxley might well approve." (Isham.) 

Julia de Wolf Addison says: ''His message seems to embody the spirit 
of the past ; not alone the classical, not alone the mediaeval, nor t!he re- 
naissance, but in a subtle manner all his own he makes his admirers feel 
the atmosphere of all these fused together " 

Vedder's ''Head of Lazarus" is the best representative of his decorative 
art; "Sea serpent" shows his naturalistic painting, and in his "Sphinx" 
he becomes realistic in portrayal. Of his "Keeper of the threshold" an 
enthusiastic admirer says that if it is possible for a picture to hypnotize, 
he feels sure that this one has such power. "Its fascination for me is as 
strong even yet, and I am still under its spell though an ocean lies 
between us." 

"Compositions like "The refuge" are full of deep suggestions and wierd 
attempts in psychology of color." (Hartmann.) 

A few other characteristic paintings are : 

"The African sentinel" "Cumean sibyl" 

"The monk upon the gloomy "The lost mind" 

path" "The crucifixion" 

"The death of Abel" " Greek actor's daughter" 

"A scene on the Mediterranean" "Young Marsyas" 

His illustrations of Edward Fitzgerald's translation of the "Rubaiyat" 
of Omar Khayyam, published in 1884, won him world-wide renown. His 
mural work at Bowdoin College and in the Library of Congress, Wash- 
ington, has that peculiar element of personality which is so true in its 
import and yet so mysterious and eluding when trying to define its 
character. 



246 

Elizabeth Luther Gary says : ''His human forms are the abodes of for- 
eign spirits, great nnhuman powers personified His mind is of an 

austere tendency and he holds us to the contemplation of these abstrac- 
tions with an almost noble, but seldom fiery, line and without allure- 
ments of color or surface." 

"Like a poet he chooses his lines with the utmost tact and felicity in 
order to obtain a rhythmic sweep and movement." (New Eng. M. 
14:143.) 

In 1880 an art review said : "If it be the mission of an original talent 
to bring into the world not peace but a sword, Vedder has had the com- 
pliment of creating this kind of a disturbance. 

Mr. Yedder is a painter of ideas. His style is naturalistic as relates to 
truth of illustrating, but ideal and intellectual in motive. ( Jarves "Art 
idea.") 

Vinton, Frederic Porter^ (P.) b. Bangor, Maine, Januarj^ 29, 1846; 
d. Boston, Mass., May 19, 1911. Pupil of William Hunt and Dr. Kimmer 
in Boston, Bonnat and Jean Paul Laurens in Paris, also at the Royal 
Academy of Bavaria, where he studied under Mauger and Dietz. Hon- 
orable mention in Paris salon, 1890; member of the National Academy, 
1891. 

"The early Jife of Mr. Vinton was passed in mercantile business in 
Boston, but the later years were devoted entirely to art. At a memorial 
exhibition of 124 of his paintings held at the Museum of Pine Arts, Bos- 
ton, fifty were portraits. 

"Vinton's sterling qualities as a portrait painter are well known. He 
w^as a strong, incisive and thorough draughtsman, a serious and studious 
obserA^er, with a deep respect for his art and for himself as an artist." 

"His grasp of character in his men sitters — and he was almost ex- 
clusively a painter of men — is in the best of his portraits and on 

a par with that of the great portrait painters. A large number of men 
who sat for him were statesmen, jurists, philanthropists, authors, sol- 
diers and successful professional men." (Art. & P. 3:474.) 

"His landscapes were made chiefly for recreation, for play, and in the 
intervals of more arduous undertakings. Based upon a silvery gray prin- 
ciple of coloring, they were delicate and sober, but free from dullness and 
heaviness." 

VoLK, Douglas, (P.) b. Pittsfield, Mass., February 23, 1856. When 
fourteen years of age accompanied his parents to Rome where he became 
interested in painting and studied in the Saint Luke Academy. In 1873 
studied in Paris with Gerome. His "In Brittany" was exhibited in the 
salon of 1875. 

He was instructor in Gboper Institute, New York, 1879-84; has been 



247 

awarded many medals and prizes; was elected associate member of the 
National Academy of Design, New York, in 1898 ; full member, in 1899. 

He writes and lectures on the subject of art with a view to the intro- 
duction of more artistic methods and a higher standard of teaching as 
opposed to the usual mechanical system in art institutions. 

"Mr. Yolk is a figure painter who relies upon the subject of his work to 
suggest Americanism." 

Generally he paints a bit of the pine forest, r-ude and solemn, and 
places in it a girl or boy with such differences of motive as are suggesteii 
by the titles. 

"Song of the pines" "Thoughts of youth" 

"The woodland maid" "Accused of witchcraft" 

"A winter walk" "Young pioneer" 

"The boy with the arrow" "A belle of the colonies" 
"A colonial youth" 

"The spirit of the nation's past and of its best hopes for the future 
seems to be figured in these types." (The artist 29 : xx.) 

VoNNOH, Bessie Pottek, (Mrs. Kobert W. Yonnoh) (S.) b. St. Louis, 
Mo., August 17, 1872. Pupil of Chicago Art Institute under Lorado Taft. 
Spent four months in Paris in 1895 and four months in Florence in 1897. 
Was married to Kobert William Vonnoh, September 17, 1899. Is a 
member of the National Sculpture Society, and was elected an associate 
member of the National Academy of Design in 1906. 

Mrs. Vonnoh's specialty is modeling diminutive portraits. Her work 
is suggestive of the figurines done in terra cotta by the sculptorsi of 
Tanagra, whose work was entirely unknown to her when she began her 
little figures. She presents modern life and modem costumes and con- 
ditions. Her work is impressionistic, suggesting character without ex* 
pressing it. "At her best the figurines are a joyous and lovely expression 
of a charming side of our life. They are like flowers in their poise and 
delicacy and in their exquisite fragility." 

"Dancing girl," the personification of the modem skirt dance, has grac© 
and rhythm, and "Young mother" is the finest thing she has ever done. A 
little bust called "Mildred" is charming and shows an intimate knowl- 
edge of character; and a recent figurine of a little girl who is industri- 
ously engaged in eating a potato with a wooden spoon is delightful, and 
suggests Boutet de Monvel "in its frank acceptance of the peculiarities 
which are really the charm of childhood." (Brush & P. 2: 29.) 

"Mrs. Vonnoh's 'figurines' and little groups have the bigness of true 
plastic conceptions and at the same time that exquisite refinement pos- 
sible only to works of small scale. Because of inherent merit the ques- 
tion of size does not signify. These bronzes have a char-m and grace 



248 

peculiarly their own. Her young mothers are essentially maternal, her 
young women delightfully feminine, yet womanly, her children are child- 
ish, lovable, sincere. Thus in her little groups, Mrs. Vonnoh touches 
upon those human relationships which are elemental, and stirs emotions 
both deep and profound. Her message is delivered with a lightness of 
touch and outward serenity, but it makes universal appeal." (Art & P. 
January, 1913.) 

In writing of the winter exhibition of the National Academy of De- 
sign, a critic comments: ^^Bessie Potter Yonnoh with small, graceful 
figures preached the sermon of idealism captivatingly." 

VO'NNOH, RoBEKT WiLLiAM, (P.) b. Hartford, Conn., September 17, 
1858. Pupil of Massachusetts Normal Art School, Boston, also of 
Academie Julien, Paris xmder Boul anger and Lefebvre. Instructor 
Massachusetts Normal Art School, Boston, Cowles Art School, Boston 
Museum of Fine Arts, Pennsylvania Academy of the Fine Arts. A mem- 
ber of the National Academy, 1906. 

Exhibited in the salons of 1888, 1889, 1890, 1891. Received honorable 
mention, 1888 ; medal at Paris Exposition, 1889. Exhibited several years 
at Munich expositions. Specialty, portraits. 

After studying at Grezi sur Loing, near the Forest of Fontainebleau he 
said: ''I gradually came to realize the value of first impressions and the 
necessity of correct values, pure color and higher key, resulting in my 
soon becoming a devoted disciple of the new movement in painting." 
(Nat. Cyc. Am. Biog.) 

Some highly decorative compositions are: 

''Hydrangeas" "In costume" 

"Reverie" "Phoebe" 

"In his technique the artist is never ponderous, on the contrary there 
is a degree of elegance which shows the discrimination and elasticity of 
his mind." (Harp. 116 : 254.) 

AValden, Lionel, b. Norwich, Conn., May 22, 1862. Studied with Caro- 
lus-Duran, Paris. Received honorable mention in the Paris salon ; silver 
medal at Paris Exposition, 1900; third-class medal in salon of 1903. 

Represented in the Luxembourg Gallery, Paris, Memorial Museum, 
Philadelphia, and Art Gallery, Cardiff, Wales. 

Member of the Societe Internationale de Peinture et Sculpture, So- 
ciete de Peintre de Marine Paris, and Society of Paris American Paint- 
ers. 

A noteworthy American in Paris, Mr. Walden is a painter of marine 
scenes and a proficient delineator of shipping and harbor life; has also 
painted some figure and landscape subjects, such as : 



249 

"The torrent" "Out for a sail" 

"The end of winter" "Summer evening" 

"Night on the Mount of Olives" is one of his pictures exhibited in the 
Paris salon. 

Walker, Henry Oliver^ (P., Mural P.) b. Boston, Mass., May 14, 1843. 
After a common school education he took up mercantile pursuits, but 
soon gave up this line of work for the profession of art, going to Paris 
in 1879 to study under M. Bonnat. Returned to the United States three 
years later; settled in Boston but later removed to New York City. 

Member of the Society of American Artists and of the National Acad- 
emy of Desigu. In 1894 he received the Shaw fund prize for "The Singers," 
and the folIoAving year, the Clark prize for "A morning vision." "The 
boy and the muse" is another celebrated picture. Aside from his reputa- 
tion as a figure painter, Mr. Walker is well known for his achievements 
in mural painting. His best wall decorations are to be seen in the Li- 
brary of Congress, Washington, D. C, appellate courts. New York; the 
Massachusetts and Minnesota state capitols. 

Walker, Horatio^ (P.) b. Listowel, Ont., 1858. Studied miniature 
painting under J. A. Fraser, Toronto, also in New York. Has been 
awarded medals at exhibitions in Paris and United States. Member of 
the Royal Institute of Painters in Water-colors, England; also member 
of the National Academy of Design, New York since 1891. Largely self- 
taught, his achievement constitutes one of the most notable conquests in 
the history of art. 

He i^aints the rustic life of the peasant types on the Isle of Orleans in 
the St. Lawrence river. His subjects are the same as Millet's but he 
treats them in a more impersonal manner. "To Walker these peasants 
going to their daily tasks are a symbol of the eternal stability of life, 
of a quiet harmony with nature's laws." 

"Horatio Walker handles his brush broadly. His color is always rich, 
pure and true, whether inclining to the sombre and deeper notes, or to 
brighter keys where it is joyous and vibrating, full of the intimate charm 
of sunshine." He combines realism and classicism to a decorative as well 
as suggestive art, which satisfies the most modern taste." 

Characteristic works : 

"Morning milking" "The potato pickers" 

"Wood cutters" "Girl feeding turkeys" 

"Oxen drinking" "A summer pastoral" 

"Shepherdess and sheep" "The harrower" 

"Sheepfold" "Hauling the log" 



250 • : 

^'Tree fellers" "Sheepvard — moonlight" 

^'A spring morning" "The thresher" 

"Man felling a tree" 

"Walker's art while immediately concerned with the local and indi- 
vidual character of that portion of the visible world he has chosen for his 
particular study, is concerned also with beauty in the abstract, and with 
the psychological relation of Avhat is finite and temporary to that which 
we conceive to be universal and eternal." (CafQn.) 

"Harmony is the word which sums up the character of Walker's art; 
he interprets in harmonies of color." 

Mr. Walker exliibited at the Royal Academy, London, in 1901 and of 
one of the collection, a leading art journal said : "Mr. Horatio Walker 
shows a Millet-like realism which is yet charged with poetry. Charm, 
the outcome of power, and not of mere desire to achieve the pretty, is 
the characteristic of this water-color. England should give welcome to 
Horatio Walker." 

Walker, Nellie Verne, (S.) b. Red Oak, la., December 8, 1874. Her 
father was a marble cutter and as a child and a young girl she played 
and experimented with the material and implements of the trade. At 
the age of sixteen she elected to become a sculptor and studied with 
Lorado Taft and at the Art Institute, Chicago. 

Portrait busts and ideal groups for memorials are her specialty. One 
of her finest groups is "Her son" — "a mother gazing in awe and amaze- 
ment at her son who stands erect, elated with the vision which he may 
not share with her He is the son of her body but his spirit tran- 
scends her in knowledge and in dreams," 

The Stratton monument, Colorado Springs, Col., memorials of the Dig- 
gins family, Cadillac, Mich., and the Decker family. Battle Creek, Mich.^ 
and a statue of Chief Keokuk at Keokuk, la., are well known. 

Miss Walker is a member of the Chicago Society of Artists, Society 
of Western Artists and the National Sculpture Society. 

Walter, Martha^ (P.) b. Philadelphia, Pa. Studied art in the Phila- 
delphia Art School and with William M. Chase; also a pupil of the 
Julien Academy and the Grande Chaumi^re in Paris. 

Miss Walter has won many prizes and has the distinction of winning 
the first award of the Cresson traveling scholarship in 1908 which made 
it possible for her to travel and study in Germany, Holland, Italy and 
Spain. For a short time she had a studio in Paris and received criti- 
cism from Prinet and Simon Menaud. She exhibited in the Paris salon 
and her pictures are now to be seen in exhibitions held in the cities of the 
ITnited States. In 1909 she won the Mary Smith prize for the best work 
by a woman. 



251 

Miss Walter has been called the painter of joyous children. ''She can 
never depict poignant misery without some note of cheer." 
A few of her best known pictures are : 

''Fresh air children" "A parasol tea" 

"Brittany family" "The outing" 

"The shore" "Motherhood" 

"She has a sense of form as well as of color, a feeling for composition 
which is rather rare and she has attained to a mastery of the tools of 
her profession which places her in a position to attain the highest in 

the artist's career Her brush work is broad and applied without 

hesitation, avoiding as far as possible the less important details." (Arts 
& D. 1:303.) 

"Miss Walter shows all the range of tone white may have, from the 
sunlit white of a summer gown to the grey hues of a white dress in 

shadow Her use of color is delightful, her treatment of draperies 

is broad and free." (Int. studio 52: xlii.) 

Ward, John Q. A., (S.) b. near Urbana, Champaign Co., Ohio, 1830; d. 
New York, May 1, 1910. Displayed a talent for plastic art at an early 
age. Studied under H. K. Brown in Brooklyn, N. Y., remaining his pupil 
for six years. In 1857 made his first sketch for "The Indian hunter" 
now in Central Park, New York, studying his subjects in the aboriginal 
state. In 1861 opened a studio in New York ; was elected associate mem- 
ber of the National Academy of Design in 1862 ; full member in 1863 and 
president in 1874. Was first president of National Sculpture Society. 

In 1866 he executed the group of "The good Samaritan" (now in Bos- 
ton) in honor of the discovery of anaesthetics, and in 1867 presented his 
design for the Shakespeare statue in Central Park, New York. 

His "Freedman" was an early work, and of this bronze statuette, 
Jarves says : "We have seen nothing in our sculpture more soul-lifting 
or more comprehensively eloquent." 

Tuckerman says : "Although Mr. Ward has never practiced modeling 
in any academy or foreign or famed studio, he has labored with rare as- 
siduity to master the principles of his art. He understands proportion 
and anatomical conditions." 

In the field of portrait statuary, Mr. Ward is one of the masters of the 
day. Perhaps his finest achievement in this field is the statue of Henr}^ 
Ward Beecher in Borough Hall Park, Brooklyn; afeo statue of Commo- 
dore Perry at Newport, R. I., and statue of Israel Putman of Hartford, 
Conn. Other triumphs are "Horace Greeley," "Lafayette" at Burlington, 
Vt., monument to President Garfield and equestrian statue of General 
Thomas, Washington, D. C. 

"Mr. Ward is essentially a sculptor His technique may lack at 



252 

times that charm of surface manipulation in which his younger colleagues 
€xcel, but it always shows a quiet simplicity, an impressiveness of mass, 
which is the first element in good monumental sculpture. (Taft's "His- 
tory of American sculpture.") 

Warner, Olin L., (S.) b. West Suffield, Conn., 1844; d. New York, 
August 14, 1896. The son of an itinerant Methodist minister, it was not 
until 1869 that he was able to sail for Eiurope. He went to Paris and 
studied sculpture in the Ecole des Beaux Arts under Jouffroy and after- 
wards in the studio of Carpeaux, making the acquaintance of Falguiere 
and Mercie. He returned to New York in 1872 and was one of the orig- 
inal members of the Society of American Artists. Associate member 
National Academy of Design, 1888; full member, 1889. 

Among his most important works are statuettes entitled "May" and 
^'Twilight." a clossal medallion of Edwin Forrest, a bust of J. Alden 
Weir (which excited profound admiration in the Paris salon) and: the 
beautiful fountain in Portland, Oregon; also the fountain and spandrel 
figures for the entrance of the Library of Congress, Washington, D. C. 

"Mr. Warner was our most classic sculptor, a pedant in taste but quite 
modern in his technique." (Hartmann.) 

"His short career as an artist was sufficient to place him among the im- 
mortal masters of sculpture^ — those who have created a style of their 
own." (Nat. Cyc. Am. Biog.) 

"His portrait of William Lloyd Garrison is among the best that our 
country has produced.'' (Taft.) 

Washburn, Cadwallader, (E.) b. Minneapolis, Minn. A pupil of the 
Art League N. Y. ; he studied under Mowbray and Chase ; Joaquin Sorolla 
in Spain. Keceived second prize of the American Art Association of 
Paris. An artist whose paintings were well known in leading art centers 
of Europe, it was in the year 1903 that Mr. Washburn first employed 
etching as a mode of expression. A series of Venetian plates revealed 
his harmony with the medium, and admitted him to the ranks of painter- 
etchers. 

The direct influence of Sorolla is far-reaching, for not the least dis- 
tinguishing quality of his plates, strikingly illustrated in the Mexican 
series, is his masterly interpretation of atmosphere and sun. His plates 
classify naturally : 

Italian set — Venice, Padua and Verona; 

Japanese portfolio, etched in 1904 ; 

"The Nordlands" a series of landscapes; 

A group in Havanna ; Cathedral of Old Mexico. 

With the passing of the master Seymour-Haden, recent attention has 



253 

been called to the school of landscape etching. With the exception of a 
few scattered plates, Mr. Washburn is the only American in the list of 
the younger men to turn a sustained interest to landscape subjects. 

It is of significance that he has revealed powers capable of worthily 
upholding its traditions in America. 

Watkins, Susan^ (P.) b. California, 1875. A pupil Art Students^ 
League in New York; Collin in Paris; she received honorable mention 
in the Paris salon of 1899 and third gold medal in the salon of 1901. Her 
painting entitled "The fan" is well known and a critic refers to the 
"quaint yet alluring figure of the young woman." 

Waugh, Fredekick Judd. (P.) b. Bordontown, N. Y., September 13, 
1861. A painter of American marines, comes from a family of artists; 
his father S. B. Waugh, was a Philadelphia portrait painter; his mother, 
Eliza Waugh, was a miniature painter, and his sister, Ida Waugh, is also 
a portrait painter and an illustrator of children's books. 

At eighteen he began the study of art in the Pennsylvania Academy of 
the Fine Arts under Thomas Eakins, after that he went to Paris and 
worked in Academic Julien under Bouguereau and Kobert-Fleury. 

Associate member National Academy of Design, 1909 ; full member, 
1911. 

The first beginnings of his marine work were laid while he lived on the 
Island of Sark, Channel Islands. He crossed the ocean frequently, thus 
familiarizing himself with every changing aspect of the water; and he 
also acknowledges the fact of his having spent much time at miniature 
portrait, decorative work, landscape and figure painting, has given him 
strength and powder in his marines. 

"The surf off Cape Ann" is a powerful marine ; this is permanently 
placed in the National Academy of Design, New York. 

Other marines are : 

"The great deep" "A heavy sea" 

"Outer surf" "Little harbor, Bailey's Island, 

"Eoaring forties" Maine" 

"Incoming tide" "Docks at Gloucester" 

Kenyon Cox says : "Mr. Waugh is an objective painter, a cool observer, 
who draws his waves and foam-loops with great accuracy, and colors 
them with much truth, but does not quite succeed in conveying the illu- 
sion of force and motion. He tells us much about the sea, but he has not 
Homer's capacity for abstracting two or three essential qualities and 
expressing them with overwhelming vigor." 

Mr. Waugh has a wonderfully trained "eye memory" and he produces 
his seascapes from memory. "He declares that if he never say the sea 



254 

again he could still go on painting it and constantly improving in his 
representations." (Arts and D., Jan. 1911.) 

The real idealized is the art of Frederick Judd Waugh. 

Webster, Herman A., (P., E.) b. New York City, 1878. Family home 
is Chicago ; occupies a studio at No. 6, Rue Furstemberg, Paris. Gradu- 
ated from Yale University in 1900 and in October of that year went 
abroad. After a winter in Paris among the studios and artists of the 
Latin Quarter, he joined Burton Holmes and Senator Albert J. Bev- 
eridge on a trip to the Orient. Returning to the United States he engaged 
in commercial work also doing journalism in the office of the Chicago 
Record-Herald. 

In February 1904 he returned to Paris and entered the Academic Ju- 
lien under Jean Paul Laurens. In 1905 four of his plates were accepted 
at the salon. In Grez on the edge of the Forest of Fontainbleau, Mr. 
Webster etched his first plates during the autumn of 1904 : "Studio 
windows" of which there are two plates, "Rue dePAbbaye," "Loing at 
Grez," and "The Court, Bourron," the first of a series of Courtyard 
studies. 

Spring 1905 etchings were "St. Martin's bridge, Toledo," and "Mirada 
de las Reinas, Alhambra" seen from the Hall of the Ambassadors. 

December 1907 Mr. Webster's name was enrolled in the associate mem- 
bership of the Royal Society of Painter-etchers in London, of which the 
late Sir Francis Seymour-Haden was president. He is the first etcher 
from Chicago, and one with less than a dozen other American who have 
been admitted to the Royal Society since its foundation in 1881. 

Weeks, Edavin Lord, (P.) b. Boston, Mass., 1849; d. Paris, France, 
November 16, 1903. As a youth he studied art in Paris at the Ecole des 
Beaux Arts and afterwards under Leon Bonnat and G^rome. At the age 
of twenty-nine he began to exhibit at the salon. 

Received honorable mention in the Paris salon of 1885, and a medal in 
1889; medals of the first-class at the Universal Exposition, Paris, 1889; 
gold medal from Philadelphia Art Club, 1891; a grand diploma of honor 
at Berlin, 1891; medal at London, 1896; Dresden, 1897; Munich, 1897; 
special medal and prize at the Empire of India Exposition, London, 1896 ; 
the same year was elected a chevalier of the Legion of Honor of France, 
and in 1898, an officer of the Order of St. Michael, Bavaria. 

Mr. Weeks is particularly famous for his pictures of life in Cairo, 
Jerusalem, Damascus, Tangier and India. He made frequent trips to 
Eastern cities, traveling extensively in India. 

"The last voyage" shows his dramatic and scenic qualities and his care- 
ful observation of oriental air and color. 

Other famous paintings are named : 



255 

^'Jerusalem from the Bethany ''Pilgrimage to the Jordan" 

road" ''Alhambra window^s" 

''Scene in Tangier" "A Moorish camel driver" 

"Arab story-teller" "Departure for the hnnt, India" 

"A cup of coffee in the desert" "Packing the caravan" 

"Three beggars of Cordova" "The porter of Bagdad" 

"A rajah of Jodhpore" "Steps in the mosque, Lahore" 
"Hindoo marriage" 

His pictures are notable for their rendering of sunlight effects, fine 
color and artistic truth. 

A well known art critic says : "Mr. Weeks is gifted with great facility ; 
his skill and sureness of eye and of hand in dealing with vast scenes are 
remarkable. No one has treated with greater effect and with such un- 
hesitating directness, the great architectural backgrounds of India with 
their pluri-color richness and splendor of detail." 

"He is a skilful draughtsman and an excellent colorist." (John Rum- 
mLell.) 

Weinman, Adolph Alexandeor,^ (S.) b. Karlsruhe, Germany, December 
11, 1870; came to America in 1880. Pupil of Art Students' League of 
New York under Augustus Saint-Gaudens and of Cooper Union. He also 
studied with the late Olin L. Warner and later was an assistant to 
Charles H. Niehaus and to Daniel Chester French. He won the Mitchell 
Yance prize for drawing at Cooper Union and the prize in the modeling 
class at the Art Students' League. Member National Sculpture Society, 
Society of American Artists; associate member National Academy of 
Design 1906. 

His monument to Major-General Alexander Macomb erected in Detroit, 
Michigan, in 1908 placed him in the front rank of the younger American 
sculptors. His portrait statue of the late president of the Pennsylvania 
Railroad system, Alexander J. Cassatt, is a conspicuous ornament of the 
new Terminal Station in New York City. 

He has also executed a number of works of decorative purpose such 
as panels for the facade of the library of J. Pierpont Morgan, for the new 
Terminal Station of the Pa. R. R., the Madison Square Presbyterian 
church, and other important structures. 

His medallic work includes the medal of honor of the National Insti- 
tute of Arts and Letters, the medal of honor of the National Institute 
of Architects, the medal of award of the St. Louis Exposition and the U. 
S. medal for life-saving on railroads. 

Mr. Weinman has recently completed the magnificent heroic bronze 
memorial of the late Mayor Maybury of Detroit. Has also executed: 

Maryland Union Soldiers and Sailors monument, Baltimore; 



256 

Lincoln memorial erected at Hodgenville, Ky., (Lincoln's birthplace) ; 
Lincoln memorial at Madison, Wisconsin. 

Weir, Julian Alden^ (P., E., Mural P.) b. West Point, N. Y., August 
30, 1852. Studied art under his father, Robert Weir, who was instructor 
in drawing at West Point Military Academy, and with G^rome at the 
Ecole des Beaux Arts, Paris. Received honorable mention in the Paris 
salon of 1881, also numerous medals and honors. Was elected associate 
member of the National Academy of Design, New York, in 1885 ; full 
member, in 1886 ; president, 1915. Member of the Ten American Painters. 

Portraits and genre pictures are his specialty. An exquisite painter of 
flowers and a bold original etcher. He sent from Paris to the National 
Academy of Design, New York, in 1875 "A Brittany interior," in 1877 
''At the water-trough," "Brittany peasant girl," "Brittany washerwo- 
man," and "Study of an old peasant." 

His heads have attracted great attention in Paris, his symbolical can- 
vases such as 'Muse of music" gave him a high rank in this field of work. 
During student days he was intimately associated with Bastien-Lepage. 

In his later w^orks — "The flower girl" and "Pussy-willows" his innate 
reserve and charm appear. 

Guy Pene DuBois says : "His work has a subtle quality and most of it 
idyllic peace or optimism," and of his "Ploughing for buckwheat" — 
"Weir has painted on it for more than three years and put his soul into 
it — ^the soul of a modest American who intuitively shuns the vulgar side 
of materialism and yet makes of its most successful models vivid symbols 
of the spirituality of the world." (Arts & D. 2:78.) 

"Upland pasture" is a characteristic picture and his "Early morn- 
ing" is strongly suggestive of Corot. 

Other well known paintings are : 

"A bough of green apples" "Silver flagon and Delft plate" 

"China bowl with flow^ers" "The young student" 

"The lane" "The open book" 

"A winter day" "Lengthening shadows" 

"Breton interior" "The plowman" 

"The good Samaritan" "Young girl" 

"Ideal head" "The miniature" 

"Return of the fishing party" "Oriana" 

"A gentlewoman" "Dorothy and Cora" 



»' 



and many portraits. 

Kenyon Cox writes: "The paramount quality of his "Green bodice" 
is the perfection of tone and a delicate observation of the gradations of 
lis^ht which would make it hold its own in any company." 



257 



fl,t\rT ^'^•' ^"'*""*' exhibition, thirty-seven paintings of 

this ar, St were a special feature, and of this collection a critic wfites 
Both landscape and flgnre paintings are shown and to an extent they 
epitomize the spirit of American painting." (Arts and D., June, IWlj 
Always full of space and light, his paintings are distinguished for a 
broad handling, truthful and luminous color and harmony of tone" 

cI'Z''' ^'T'' ?■' ^''"- ""-^ ""■ ^«^' Haven, Conn. Pupil of Kenyon 
Cox, New lork; Courto.s, Paris. Member Art Students' League N Y 
also American Society of Miniature Painters. A teacher ^ ' ' " 

Her miniature works possess much charm of color, much judicious 
p acing of he subject within the frame, and no inconsiderable excellence 
of technical treatment. 

Aside from color, the interesting quality of Miss Welch's miniatures 
s their breadth of treatment. "Breadth is easy of achievement given the 

witl refl, r ' : ' ''"""'' ''"* ^'''''^'^ ^'""^'^ "^a* to compromise 

with refinement on less than a 5-inch ivory, is another matter. (Int 

studio 39 : xcii.) -Miss Welch is one of the most promising of the newer 

miniature painters and her work has attracted much interest." 

- Study of a child" is a' delightful rendering of sweetness and in- 



Her 
nocence. 



Wbndt Julia M. Bracken (Mrs. William Wendt), (S., P.) b. Apple 
So iaft "^ ''' ''''■ ^"P" °* -^^* ^-"^"te'oi Chicago under 

thJothTe""f %''f "■'" "''"• ^^^"^'^ ^^^ '"-'^^y -- distinction 
Itues nnd ^r" • ."" P^^trait-busts and bas-reliefs, her symbolic 
statues and he naive characterful studies of animals, but this imagin- 
ative work (a bronze group representing Art, Science and Historv) 
places her among the foremost sculptors of America." 

Wbnot WiLLiAH. (P.) b. Germany, 1865. Settled in Chicago, 1880 
Self-taught. First conspicuous successes were made as a result of a 
long sojourn in California. He has exhibited in the Paris salon, Koyal 
Academy, London, and in leading American galleries 

Mr. Wendt is president of the California Art Club and recently elected 
associate member of the National Academy. 

"Wendt is a colorist and he is a success whenever he is reveling with 
warm tones and brilliant effects. He is original and his paintings Tat 
a distinct personal character and value." 

"Scarlet robe" is a picture full of air, space and movement and is pro- 

person. Its color scheme suggests the gray harmony of Caain. "Wilder- 
33 



4 * 258 

iiess" and ''Canon Diablo" are notable California scenes. '^Cornwall 
coast" is dramatic in treatment. ''Antumn melody" was exhibited in the 
New Salon of 1899. 

In his catalogne of some fifty works a considerable nnmber were done 
in California and show at his best his love for strong color. (Brush & 
r. 6:257.) 

At the 23d annnal exhibition of American paintings at Chicago, a room 
was set apart for his paintings. An art critic writes : "The best trio 
of landscapes it is generally conceded is that by William Wendt. ''The 
silence of night," which received honorable mention is a landscape with 
slender birches in the foregronnd beyond which the darker reaches are 
illnminated by a snbdned light. "The land of the heart's desire" is as 
satisfying in a decorative sense and in mood more joyons, the golden sun- 
light gilding the open country. "The Arcadian hills" is in the same 
manner a strong, independent painting." (Art & P. 2:49.) 

"His work has the rare quality of standing true under a glaring light, 
and when in shadow it seems to radiate a light of its own. He has done 
much to raise the standard of art in the west, spending his energy 
lavishly in its service at all times." 

Wentworth, Cecile de, (P.) b. in New York City. Pupil of the Sacred 
Heart Convent and of Cabanel and Detaille in Paris. 

Received gold medal at Tours, Lyons and Turin ; honorable mention 
Paris salon, 1891; bronze medal, Paris Exposition, 1900; Chevalier of the 
Legion of Honor of France, 1901 ; officer of Public Instruction of France, 
Order of Holy Sephulchre from Pope Leo XIII. 

Represented in the Luxembourg Gallery, Paris, and in the Metropoli- 
tan Museum of Art, New York. 

Wenzell, Albekt Beck, (I.) b. Detroit, Mich., 1804. Pupil of Stra- 
huber and Loefftz in IMunich, and Boulanger and Lefebvre in Paris. 

Received silver medal at Pan-American Exposition, Buffalo, 1901; 
silver medal at St. Louis Exposition, 1904. 

His work as an illustrator is marked by great originality of treatment. 

Whistler, Jaimbs Abbott McNeill, (P., E., Mural P.) b. Lowell, Mass., 
1834 ; d. Chelsea,. England, July 17, 1903. Was taken as a child to Russia ; 
after his father's death he returned to America and entered the Military 
Academy at West Point. Being a poor student and failing in chemistry, 
he was recommended to be discharged in 1851; after a short employment 
in the United States Coast Survey at W^ashington he went to Paris and 
entered the studio of Charles Gabriel Gleyre, where Degas, Bracquemond 
and Fantin-Latour were his favorite companions. TVo or three years 
later he left Paris and took up permanent residence in London. In 1860 
"At the piano" was exhibited at the Royal Academy, London. His sue- 



259 

cess began with the "White giii" exhibited in 18G3 in the Salon des 
Eefuses, Paris. 

In 1883 Mr. Whistler sent the portrait of his mother to the Paris salon 
and received a third-class medal ; in 1889 he received the cross of the 
Legion of Honor. 

He was a member of the Societe Rationale des Artistes Francais, hon- 
orary member of the Royal Academy of St. Luke, Rome, commander of 
the Order of the Crown of Italy, honorary member of the Royal Academy 
Bavaria, chevalier of the Order of St. Michael, and honorary member of 
the Royal Academy of Dresden, but most unjustly he was never elected 
to the Royal Academy of London. 

Elizabeth Luther Gary, in her recent work on Whistler gives a tentative 
list of Whistler's works. She catalogs 528 oils, water-colors and pastels, 
161 lithographs and 420 etchings as his principal Avorks. 

He always called his pictures "harmonies," symphonies," "nocturnes" 
and "arrangements." The portrait of his mother, the "Thomas Carlyle" 
and "Miss Alexander" are usually considered the height of his achieve- 
ments. 

0. H. Caffin most interestingly writes: "None but a man of peculiar 
sweetness of mind could have conceived tbat masterpiece in the Luxem- 
bourg', "The portrait of my mother." 

"It was with the night that Mr. Whistler set his seal and sign manual 
upon art," writes George Moore; "above all others he is surely the 
interpreter of the night." 

G. H. Gaffin also says : "His art was the product of most delicate 
selection; a hybrid derived from the intermingling of many strains- 
Velasquez, Rossetti, the impressionists and Japanese— with his own 
rarely gifted personality, itself a curious mingling of artistocratic 
hauteur and spiritual sensibility." 

William G. Brownell, the art critic, has spoken of Whistler as, "per- 
haps the most typical painter and the most absolute artist of the time." 
His fame is now an international one; his works and personality have 
been before the public for more than forty years. 

Of Whistlers etchings, Bryant, in "Pictures and their painters," says : 
"But two men in the whole history of the world— Rembrandt and Whist- 
ler—have been able to use the etching needle with such skill that exeij 
object in the scene becomes as much a piece of portraiture as though it 
were a portrait. Both of them produced etchings that were without 
haw." 

White, Thomas Gilbekt, (P.) b. Grand Rapids, Michigan. Pupil of 
Art Students' League in New York Gity under Twachtman ; Julien Acad- 
emy under Benjamin-Constant and Laurens, also Whistler and MacMon- 
nies in Paris. Specialty, portraits. 




JAMES ABBOTT McNEILL WHISTLER. 



261 

Whitney^ Gertrude Vanderbilt, (Mrs. Harn- Payne Whitney) (S.) 
Has devoted much time to the study of modeling, principally w^th the 
well known American sculptor, James Earle Fraser. 

Among her first work to attract attention was a male figure of heroic 
proportions called "Aspiration," placed before the New York building 
at the Pan-American Exposition, Buffalo, 1901. 

"Well modeled and carefully executed this work expressed great origin- 
ality in design, winning much praise from artists and layman." 

Mrs. Whitney won the |50,000 commission for the design of the Ti- 
tanic Memorial to be erected by the women of the United States as a 
tribute to the men who lost their lives in the great ocean disaster of 
1912. 

Whittbmorei^ William John^ (Min. P.) b. New York City, March 26, 
1860. Pupil in New York of William Hart, National Academy of Design, 
and Art Students' League under Beckwith; in Paris, Lefebvre and Ben- 
j amin-Cons tan t . 

Keceived silver medal for drawing at Paris Exposition, 1889. Member 
American Society of Miniature Painters; associate member of National 
Academy, 18971. 

His first success was a water-color landscape, and his most serious 
work has been in portraiture. 

A critic calls attention most visibly to his sympathetic though never 
mawkish portrait studies of children. 

"The burgomeister" has much strength and a wonderful color. "Pan- 
dora" is an interesting figure composition. (Critic 47: 525.) 

Whittredgei, Worthington^ (P.) b. Springfield, Ohio, May 22, 1820; 
d. Summit, N. J., February 25, 1910. When very young he studied land- 
scape and portrait painting in Cincinnati. In 1849 he went abroad and 
continued his art studies in London, Paris, Antwerp and in Diisseldorf 
under Andreas Achenbach. In 1859 he exhibited in the National Acad- 
emy of Design his "Koman campagna" and was at once elected an asso- 
ciate member, and in the following year was made an academician. He 
was president of the academy for the year 1875-6. "He possessed great 
faculty and originality as a landscape painter." 

Among his most celebrated pictures are "A brook in the wood," "Plains 
at the base of the Kocky Mountains" and "Sunshine in the forest." 

For many years Mr. Whittredge was active in art circles in New York 
City. 

Wiggins, Carleton^ (P.) b. Turners, N. Y., March 4, 1848. Educated 
in public schools of Brooklyn, N. Y. Studied art with H. Carmiencke of 
Brooklyn, drawing at the National Academy of Design, New York, and 
34 



262 

landscape painting with Inness. He was unsuccessful from both an 
artistic and commercial standpoint with his landscape work, and turned 
his attention to cattle painting. He met with immediate success and is 
now the most distinguished painter of cattle and sheep in the United 
States. (Innes' "Schools of painting.") He was elected associate mem- 
ber of the National Academy of Design in 1890; full member in 1906. 
The Paris salon of 1891 accepted his "Shepherd and his flock." 



"A Holstein bull" 

"The wanderers" 

"Plough horse" 

"Down the lane at twilight" 

"The pasture lot" 

"Ploughing in France" 

"Three oaks" 



"Morning on the hills" 

"Normandy bull" 

"Evening — Forest of Fontain- 

bleau" 
"Near Great South Bay" 
"After wind — rain" 



''He chooses principally American motives and his pictures carry the 
evidence of their truth to nature. His technical skill is great, his color 
warm and vibrant and his construction shows he has a thorough knowl- 
edge of form." (Nat. Cyc. Am. Biog.) 

"Mr. Wiggins is at his best when he paints landscape with animals 
rather than animals with landscape." (The artist 29 : iv.) 



Wiles, Irving ILimsey, (P., Mural P.) b. Utica, N. Y., April 8, 1861. 
Was educated at Sedgwick Institute, Great Barrington, Mass. His father, 
a gifted painter of landscapes was his first instructor in art; he was also 
a pupil of William M. Chase and although he subsequently studied in 
Paris with Carolus-Duran and Jules Lefebvre, he returned to America 
to work, definitely to express himself as an American artist. 

He has never been identified with any special school or any new move- 
ment. Has received third Hallgarten prize of the National Academy of 
Design, New York; honorable mention in the Paris salon and several 
medals. Was elected member of the National Academy of Design, 
New Y^ork in 1897. He has been called the "Artist's painter" and 
chiefly busies his brush with portrait and figure paintings. His illus- 
trations are well known to art readers of Century, Harper, Scribner, etc. 

"If low tones appeal to him with the greatest strength, however, the 
bright luminous colors come often into his canveses with brilliant effect." 
(Arts and D. 1:403.) 

His work is characterized by a charming simplicity of idea and treat- 
ment, and "Memories" now owned by Mr. Carnegie, is an admirable 
example of those qualities of his art." (Nat. Cyc. Am. Biog.) 

Among his works are : 



263 

''On the beach" ''Girl with peonies" 

"The student" "Girl and horse" 

"Quiet corner" "Noon" 

"Sunshine and flowers" "The green gown" 

"Sunshine in the studio" "The window" 

"The southAvest wind" "With hat and veil" 

"A breezy day" "Among Canada thistles" 

"The black shawl" "Discouraged" 

"An Autumn stroll" (Portrait of "Brown kimono" 

Gladys Wiles) "The Sonata" (prize picture) 

Portrait of Julia Marlowe "In summertime" 
Portrait of "My father and mother" 

His portrait of Mrs. Gilbert is a masterpiece of portraiture. 

"The wholesome realities of life are depicted in Mr. Wiles' canvases — 
the gladness of childhood, the dignity of age^ — and the glory of good 
work." 

"He represents no intricate symbolism in his work ; no revelation of a 
nature complicated beyond power to express its thoughts. He has found 
the ideals of art in the realities of life. His daughter has been the 
inspiration of some of her father's most distinguished works." (Arts 
and D., Aug., 1911.) 

WiLLET, William, (Stained glass designer) b. New York City, Novem- 
ber 1, 1868. Pupil of Whittaker, Chase and LaFarge in New York; 
studied also in Prance and England. Author of "Stained glass in our 
churches ;" lectured on applied arts at Carnegie Technical Schools. 

The most important representative of the new school of stained glass 
workers. Beginning his art career as a portrait painter, he turned to 
decorative work. "It is this feeling for design joined with a subtle ap- 
preciation of color, that makes his work notable." 

The design for "The spirit of the water lily" a memorial window in 
the home of Mr. George. I. W^hitney of Pittsburgh, shows exquisite 
draughtsmanship and mastery of symbolism. 

In the "Marriage of Isaac and Rebecca" the artist has more scope for 
color. The finest work is undoubtedly the window recently executed in 
the Third Presbyterian Church at Pittsburgh, depicting the parable of 
"The wise and the foolish virgins." "It bears brilliant witness to the 
vitality and promise of American art." 

Williams, Frederick Ballard, (P.) b. Brooklyn, N. Y., October 21, 
1872. When a little more than a lad he studied at night at the Cooper 
Union in New York City. Then for a while attended a school conducted 
by John Ward Stimson, an idealist. Later studied at the National Acad- 
emy of Design and spent a short time traveling in England and France. 



264 



^'Mr. Wlilliams' landscapes are not painted out-of-doors ...... Hie 

transcribes what he feels rather than what he sees The scenes are 

imaginative, gay and fanciful. Their charm lies in their joyous spon- 
taneity, their rhythm of line and color." 

^The women he paints are intensely feminine but are pictured im- 
personally, their object being, as it were to decorate the earth." 

''His pictures are atmospheric, without resort having been made to 
mists and vapors and they are peculiarly spacious in suggestion." 

"Form and color are paramount and light and shade take their places 
as in a purely decorative scheme." 

A few paintings are: 



''A glade by the sea" 
"The confidantes" 



"On the cliffs" 
(Int. studio 42 



"Chant d'amour" 

"The inner harbor, Block Island" 

"Garrets Mountain, N. J." 



sup. 53.) 



Woodbury, Charles Herbert, (P.) b. Lynn, Mass., July 14, 1864. 
Pupil of Mass. Institute of Technology in Boston, Academie Julien in 
Paris under BougTiereau and Lefebvre. N. A. 1907. Specialty, marines. 

"Few painters have painted the ocean with a more familiar knowledge 
of its aspects, a closer sympathy with its various moods or in a larger 
imaginative style." (Art & P. 4: 762.) 

His best marines are : 



"The breaker" 
"A quiet sea" 
"The open sea" 
"Mid-ocean" 
"A heavy sea" 



"Ground swell" 
"The steamer" 
"Maine coast" 
"On a lee shore" 



WooDWELL,, Joseph R., (P.) b. Pittsburgh, Pa., 1843; d. Pittsburgh, 
Pa., May 30, 1911. Mr. Woodwell w^as chairman of the Fine Arts Com- 
mittee of the Carnegie Institute and one of the best known of the Pitts- 
burgh artists. He studied for four years at Barbizon and was the friend 
of both Millet and Jacques. In Paris he Avas associated with Monet, 
Sisley, Renoir and Pissaro. 

Wright, M. Louisei Wood, (Min. P., I.) b. Philadelphia, Pa., 1875. 
Pupil Pennsylvania Academy of the Fine Arts, Whistler and Academie 
Julien, Paris ; F. W. Jackson, England. 

Received Toppan prize Pennsylvania Academy of the Fine Arts. A 
teacher. 

Wyant, Alexander Helwig, (P.) b. Port Washington O., January 11, 
1836; d. New York, November 29, 1892. First occupation was that of a 
sign painter in his native village. At the age of twenty -two he consulted 



265 

Inness on art matters ; later went to Diisseldorf and studied under Hans 
Gude, subsequently in London he studied the works of Turner and Con- 
stable. Settled in New York after 1864. Losing the use of his right hand 
from paralysis, he learned to paint with the left with no dimunition of 
skill. 

The work done with the left hand is considered by some critics to be 
superior to that done j)reviously. Long before his death he was ranked 
with Innes as a landscape painter. In a certain delicate refinement 
none of our ar-tists have equalled him. 

His first picture exhibited in New York ^'A view of the valley of the 
Ohio river" was at the National Academy of Design in 1865. He was 
elected associate member of the academy in 1868 and full member in 
1869. 

''Many of his landscapes are truly idyllic in character and full of 
tender and poetic sentiment. Others are beautiful interpretations of the 
more dramatic moods of nature or representatives of the wild and rugged 
scenery of the Adirondacks." ("Aims and ideals of representative Amer- 
ican artists.") 

Of the exquisitely poetic feeling with which he loved to invest his 
scenes, "Early morning" is a glorious example. (Cafifin.) 

There is a combined realism and impressionism in Wyant's work. 
"Early spring" is a characteristic landscape. 

"Wyant always looked for and grasped the specific essential truth of 

a scene Some of his twilight scenes breathe only ineffable peace, 

others are astir with suggestions of the infinite mystery of the final 
sleep." (Eleanor Richardson Gage.) 

"He loved the gray sky and somber tints of November, the subtle 
mystery of twilight and the fading glory of the sunset." (Arts & D. 
2:349.) 

Many critics have rated "Passing clouds" as Wyant's most dramatic 
composition "which in its way he never surpassed." 

Of his "Moonlight and frost" (painted at a single sitting) is is said : 
"It is bathed in the mystic sheen of the moonlight which has impressed 
itself on the soul of the painter and is instinct with the very spirit of 
frost, chilled to intensity in the picture, as it must have been in the 
artist. 

A few of his pictures in oil are: 

"Staten Island from the Jersey "The wilds of the Adirondacks" 

meadows" "The old road — Evening" 

"The bird's nest" "Hoosatonic valley" 

"Scene on the Upper Susque- "Early twilight" 

hanna" "A glimpse of the sea" 

"A view on Lake George" "View in County Kerry, Ireland" 

"Broad silent valley" "Spring" 



266 

*^Gray days had more allurement than sunny ones and his works are 
found to have a lyric quality which in a measure Inness' lacks. 

Yandell^ Enid^ (S.) b. Louisville, Ky., October 6, 1870. A pupil of 
the Cincinnati Art School; Philip Martiny in New York; MacMonnies 
and Kodin in Paris ; is an officier de Pacademie, French government, and 
has the distinction of being the first woman member of the National 
Sculpture Society. 

At the Columbian Exposition in 1893, Miss Yandell was represented 
by the caryatids of the Women's building and a figure of Daniel Boone. 
At the Tennessee Centennial Exposition her Athena (in heroic size) 
stood before the Art Palace. This figure is said to be the largest figure 
ever designed by a woman. At the Pan-American Etxposition in 1901 she 
exhibited two busts: Honorable John G. Carlisle of Kentucky and the 
Baroness de Braunecker; also the Carrie Brown Memorial Fountain, 
given to the City of Providence, R. I., by Paul Bagnotti of Turin, Italy, 
in memory of his wife. "The lines of the composition are large and digni- 
fied especially noticeable in the modeling of the individual figures which 
is well studied and technically excellent." (Outl. 70:82.) 

"Miss Yandell has made many small figur*es with admirable skill and, 
abounds in happy inventions." (Taft.) 

YoHN, Freodekick Coffay^ (I.) b. Indianapolis, Ind., February 8, 1875; 
made his debut when he was nineteen, in the pages of Harper periodicals. 
From his home in Indiana he went to New York to study at the Art 
Students' League where he was a pupil of Mr. Siddons Mowbray. 

Was selected to supply the drawings that accompanied the frontier 
sketches of Theodore Roosevelt. This recognition was followed by a com- 
mission to illustrate Cabot Lodge's "Story of the American Revo- 
lution." 

He makes the story-telling quality of a picture easily felt in his com- 
position, and projecting his motive with admirable appeal. 

"Mr. Yohn's ultimate purpose is to paint battle-pieces, but in illustrat- 
ing he prefers to do character work — it is the soldier type that has so far 
identified him." 

"His military compositions have suggested him as a successor to De 
Neuville." 

Invests his versatile compositions with stirring vigor and dramatic 
interest. 

Noted for his spirited battle scenes. (Brush & P. 2 : 161.) 

Young, Mahonri, (S.) b. Salt Lake City, Utah, 1877, and is a grandson 
of the famous Mormon leader, Brigham Young. Studied in Julien Acad- 
emy, Paris. 



267 

"His best work is distinguished by nobility and breadth of conception, 
close and conscientious observation of nature, a predilection for virile 
form and plastic line of great beauty and power." His bronze tigure of 
an Alsatian boatman, Bovet Arthur, received honorable mention at Bue- 
nos Ayres, and was awarded the Helen Foster Barnett prize at the Na- 
tional Academy exhibition of December, 1911. Has recently been elected 
associate member of the National Academy of Design. 

Mr. Young's latest noteworthy achievement is the "Sea gull" monu- 
ment erected in Salt Lake Citv, Utah. 



BIBLIOGRAPHY 



BIBLIOGRAPHY. 

GENERAL. 

Appleton's Cyclopaedia of American Biography, N. Y. 1888. 

Bryan's '^Dictionary of painters and engraA^ers." 

Champlin and Perkins ''Cyclopedia of painters and painting." Charles 

O. Perkins, critical editor, N. Y. 1887. 
Dictionary of National Biography, edited by Stephen & Lee, London and 

N. Y.*^ 1885-1900. 
Lamb's Biographical Dictionary of United States, Boston, 1900. 
Levy, Florence, "American x\rt Annual," vols. 1-11, New York. 
The National Cyclopedia of American Biography, N. Y. 1898. 
The New International Encyclopedia, N. Y. 1892-1904. Pub. A. N. 

Marquis & Co. Chicago. 
''Who's who in America." Vols. 1-8. 

SPECIAL. 

Addison, Julia de Wolf, "The Boston Museum of Fine Arts." Boston. 
1910. 

"American artists," by leading American writers. Boston. 

Amory, Martha Babcock, "Domestic and artistic life of John Singleton 
Copley." Boston. 1882. 

Benjamin, S. G. W. "Our American artists." 1st and 2nd series. Bos- 
ton. 1881. 

Blashfield, Edwin H. "Mural painting in America." N. Y. 1913. 

Brinton, Christian. "Modern artists." N. Y. 1908. (Melchers, Sargent, 
Shannon, Whistler.) 

Bryant, Lorinda M. "Pictures and their painters. N. Y. 1907. 

Caffin, C. H. "American masters of painting." N. Y. 1902. 

Caffin, C. H. "American masters of sculpture." N. Y. 1903. 

Caffin, C. H. ''How to study pictures." N. Y. 1912. (Whistler and 
Sargent.) 

Caffin, C. H. "The story of American painting." N. Y". 

Carr, Cornelia. "Harriet Hosmer : Letters and memories." N. Y. 1912. 

Cary, Elizabeth Luther. "Artists past and present." N. Y. 1909. 

Child, Theodore. "Art and criticism." N. Y. 1892. 

Clements. "Women in the fine arts." Boston. 1904. 



272 

Clements and Hutton. ^'Artists of the nineteenth century." Boston. 

1880. 
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274 



PERIODICAL REFERENCES 



Abbey, Edwin Austin 

Art & P. 2:347 

Artist 29:169 

Arts&D. 1:444 

Craftsman 21:11 

Harp. 100:875; 105:525 

Int. studio 44:sup.lv; 15:sup. Ivi; 17:sup. 
Ixxix 

Nation 86:384 

R. of Rs. 44:300 

Scrib. M. 44:656; 51:1 

W. Work 16-10191 
Aitken, Robert S. 

Int. studio 50:sup. iii; 54-xv 

Overl. 60:108; 61:218 
Alexander, John White 

Arts&D. 1:147 

Cent. o. s. 70:642 

Craftsman 10:46 

Critic 35:609; 46:239 

Harp. 99:694; 114:845 

House B. 15:67 

Int. studio 34:lxxxv 

Munsey 39:744 

Outl. 95:171 

Scrib. M. 25:340; 45:45 

Studio 20:71 

W. Work 9:5682, 5993 

W. Work (Lond.) 5:373 
Anschutz, Thomas Pollock 

Brush & P. 4:277 

Barnard, George Grey 

Cent. o. s. 53:877 

Craftsman 15:270; 16:437 

Int. studio 36:sup. xxxix 

Munsey 20:456 

R. of Rs. 19:49; 38:689 

W. Today 16:273 

W. Work 5:2837; 17:11256 

Bartlett, Paul Wayland 

Art & Archeology 1:163 

Craftsman 16:437 

NewEng. M. n. s. 33:369 

Scrib. M. 45:309; 48:125; 54:527 
Beaux, Cecilia 

Brush & P. 6:81 

Cent. o. s. 80:581 

Critic 47:39 

Harp. 128:870 

Harp. B. 45:119; 47:221 

Int. Studio 41:sup. iii 

Scrib. M. 22:477 

Studio 17:215 



Beckwith, J. Carroll 

Artist 26:lxvii 
Scrib. M. 47:449 

Bellows, George Wesley 

Art&P. 3:679 

Cur. lit. 53:342 
Benson, Frank Weston 

Art & P. 4:760 

Arts& D. 1:195 

Brush & P. 6:145 

Harp. 119:105 

Int. studio 27:sup. Ixxxiv; 35:sup. xcix 
Bitter, Karl Theodore 

Art & P. 6:295 

Booklovers M. 3:599 

Brush & P. 13:466 

Outl. 109:904, 980 

Blakelock, Ralph Albert 

Artist 29:xviii 

Brush & P. 9:257 

Dial 57:382 

Int. studio 27:sup. Ix 

Scrib. M. 34:640 
Blashfield, Edwin Rowland 

Arch. rec. 18:107 

Artist 27:sup. viii 

Critic 47:233 

Ind. 53:1795 

Int. studio 24:sup. Ixxxvii; 35:sup. Ixix; 
43:sup. liii 

Outl. 67:286 

R. of Rs. 22:191 

Scrib. M. 44:125 
Blum, Robert E. 

Int. studio 21:sup. clxxvii 

Lamp 26:473 
Bogert, George H. 

Artist 24:lxi 

Brush & P. 4:125 

Int. studio 21:sup. ccix 

Borglum, John Gutzon 

Craftsman 14:27 

Lamp 24:624 

Int. studio 28:35 

Overl. 60:106 
Borglum, Solom Hannibal 

Cent. o. s. 68:247 

Craftsman 12:382 

W. Work 3:1857 
Bouguereau, EHzabeth Gardner (Mme. W. 
A. Bougereau) 

Cur. lit. 39:391 



275 



Breuer, Henry Joseph 

Int. studio 39:sup. xlix 
Bridgman, Frederic Arthur 

Artist 29:138 
Browne, George Elmer 

Brush & P. 14:107 

Int. studio 36:286 
Brush, George DeForest 

Brush & P. 5:266; 6:205 

Int. studio 34:sup. xlvii; 39:187 

Cadwalader-Guild, Emma Marie 

Cur. Ut. 40:42 

Int. studio 27:sup. xliv 
Carlsen, Emil 

Int. studio 27:sup. xliii; 39:10 
Cassatt, Mary 

Arts&D. 3:265 

Cent. o. s. 57:740 

Craftsman 19:540 

Cur. lit. 46:167 

Delin. 74:121 

GoodH. 58:152 

Harp. B. 45:490 

Int. studio 27:sup. 1; 35:sup. xxxi 

Scrib. M. 19:353; 46:734 

W. Today 21:1659 
Chase, William Merritt 

Craftsman 18:33 

Critic 48:575 

Harp. 78:549 

Int. studio 39:sup. xxix 

Studio (Lond.) 21:151 
Cooper, Colon Campbell 

Brush & P. 18:72 
Couse, Eanger Irving 

Artist 27:xii 

Craftsman 18:619 

Cox, Kenyon 

Int. studio 32:3 
Dabo, Leon and T. Scott 

Brush & P. 17:3 

Craftsman 13:261 

Cur. lit. 41:524 

Int. studio 27:173; 39:sup. Iv 

R. of Rs. 41:219 

Sewaunee R. 22:96 

W. Today 12:76 
Dallin, Cyrus Edwin 

New Eng. M. n. s. 48:408 
Dannat, William T. 

Craftsman 6:154 
Davidson, Jo 

Cur. lit. 52:99 

W. Work 22:14746 
Davis, Charles Harold 

Brush & P. 4:40, 122 

New Eng. M. n. s. 27:422 
Dearth, Henry Golden 

Cent. o. s. 48:157 
Decamp, Joseph R. 

Art & P. 4:919 

Arts&D. 1:248 



New Eng. M. n. s. 39:239 
Deming, Edward Willard 

Craftsman 10:150; 21:456 

Int. studio 27:xv 
Dessar, Louis Paul 

Artist 24:lix 

Brush & P. 5:97 

Int. studio 27:sup. Ixvi 
Dougherty, Paul 

Craftsman 25:510 

Int. studio 30:180; 36:sup. 3; 38:37, 46 

Duveneck, Frank 

Arts& D. 1:382 
Elliott, John 

Arts & D. 2:359 

Everybody's 23:95 

New Eng. M. n. s. 50:26 
Enneking, John 

Brush & P. 10:335 

W. Today 16:517 
Ezekiel, Moses Jacob 

W. Work 19:12255 
Fisher, Harrison 

Bkmn. 11:53 

Cosmopol. 49:135 
Fournier, Alexis Jean 

Arts& D. 1:18 

Brush & P. 4:243; 11:140 

French, Daniel Chester 

Atlan. 75:223 

Brush & P. 5:145; 8:43 

Cent. o. s. 59:871 

Int. studio 41:sup. Iv; 46: 211; 53:lxi 

Frieseke, Frederick Carl 
Art&P. 3:747 
Arts& D. 3:13 
Harp. 118:291 
Int. studio 43:273; 53:259; 54:xxiv 

Fuller, George 

Brush & P. 6:209 

Harp. 69:517 

Int. studio 35:sup. xcii 
Fuller, Lucia Fairchild 

Brush & P. 6:26 

Cent. o. s. 60:820 

Critic 47:524 
Gay, Walter 

Art & P. 4:1023 
Genth, Lillian M. 

Arts & D. 3:34 

Int. studio 50:sup. Iv 
Gififord, Robert Swain 

Brush & P. 15:201 
Glackens, William J. 

Bookm. 11:244 

Int. studio 40:sup. Ixviii 
Grafly, Charles 

Booklovers M. 2:499 

GroU, Albert I. 
Brush & P. 18:43 
Craftsman 9:826 



276 



Int. studio 27:lxvi; 28:sup. Ixxviii; 29:270 
Guerin, Jules 

Lamp 39:293 
Gutherz, Carl 

Int. studio 24:sup. Ixxxi 
Harrison, L. Birge 

Art&P. 3:379 

Craftsman 13:397 

Int. studio 44:sup. iii 

Scrib. M. 42:576; 43:283 

Studio 13:149 
Harrison, T. Alexander 

Brush & P. 4:133 

Studio 13:248 
Hassam, Childe 

Art & P. 2:137 

Artist 27:xxviii 

Brush & P. 8:141 

House B. 23:19 

Int. studio 29:267; 45: sup. xxix 
Henri, Robert 

Arts & D. 2:213 

Craftsman 21:454 

Critic"49:130 

Cur. Ut. 52:464 

Ind. 64 (pt. 2): 1427 

Int. studio 30:182 
Higgins, Eugene 

Craftsman 12:135 
Hills, Laiira Coombs 

Brush & P. 4:227 

Critic 47:533 

Int. studio 41:xlvi 
Hitchcock, George 

Arts& D. 3:401 

Brush & P. 9:202 

Cent. o. s. 48:318 

Hearst M. 22:131 

Int. studio 26:sup. 1 

Homer, Winslow 

Brush & P. 6:202; 10:40; 11:271 

Critic 43:548; 46:323 

Cur. Ut. 45:54 

Int. studio 34:sup. cxxv 

Outl. 96:338 

New Eng. M. n. s. 14:138 

R. of Rs. 38:102 

W. Work 21:14009 
Hornby, Lester G. 

Int. studio 27:122 
Hosmer, Harriet 

Eel. M. 77:245 

Liv. age 56:697 

Nation 86:203; 95:340 

New Eng. M. n. s. 45:265 

Outl. 102:545 
Hunt, William Morris 

Int. studio 35:sup. xciv 

Hutt, Henry 
Bkbuy. 22:22 
Bookm. 11:55 
Brush & P. 2:15 



Hyatt, Anna V. 

Art & P. 4:773 

Arts & D. 2:296 
Hyde, Helen 

Brush & P. 11:241 

Int. studio 24:239; 45:51 

Inness, George 

Cent. o. s. 40:530 

Cosmopol. 55:518 

Critic 26:17 

Forum 18:301 

Masters in art 9:215, bibliog. 

Mo. illus. 3:258 

Outl. 73:535 

Pub. opin. 18:207 

Johansen, John C. 

Int. studio 26:264; 40:sup. Ixxviii; 42:sup. 
iii 
Keith, William 

Craftsman 20:528 

Int. studio 33:36 
Kemeys, Edward 

Cent. o. s. 28:214 

Int. studio 26:sup. x 

McClure 5:120 
Kendall, William Sergeant 

Arts& D. 1:15, 40 

Cent. o. s. 50:478 

Harp. 117:568 

Ladd, Anna Coleman 
Art & P. 2:251 

Lafarge, John 

Craftsman 8:312; 9:369; 19:330 

Cur. lit. 50:93 

Int. studio 15:sup. xxxvi; 38:sup. Ixxxiii, 
ciii 

New Eng. M. n. s. 14:136 

Outl. 84:479; 90:518 

R. of Rs. 11:535 

Scrib. M. 26:3; 37:604, 638 

W. Work .21: 14085 
Lamb, Charles RoUison 
Lamb, Ella Condie 
Lamb, Frederick Stymatz 

Craftsman 13:420 

Outl. 70:571 

Lie, Jonas 

Bui. Pan-Am. union 38:679 
Craftsman 3:135; 21:455 
Cur. lit. 52:222 
House B. 35:126 
• Int. studio 51: sup. cxcii; 53:lv 

Loeb, Louis 

Artist 24:xiii 
Cent. o. s. 79:74 
Harp. 53:33 
Int. studio 27:lxxxvii 
Outl. 92:871 

Longman, Evelyn Beatrice 

Int. studio 45:sup. xcix 
W. Today 14:526 



277 



Ltiks, George B. 
Craftsman 12:599 

MacEwen, Walter 

Brush & P. 11:301; 19:21 

MacLane, M. Jean (Mrs. J. C. Johansen) 

Arts&D. 3:299 

Harp. 118:292 
MacMonnies, Frederick W. 

Brush & P. 10:1 

Cosmopol. 53:207 

Munsey 34:415 

Scrib. M. 18:617 

Studio (Lond.) 6:17 

Int. studio 29:319 

W. Work 11:6965 
Martin, Homer Dodge 

Bookman 31:236 

Harp. 59:678; 126:916 

Int. studio 35:255 

Nation 95:622 
Melchers, J. Gari 

Brush & P. 5:287 

Cosmopol. 55:4 

Harp. 114:430 

Int. studio 31:sup. xi; 48:sup. xxvii 

Magazine of art 24:145 

W. Work 15:10092 

Metcalf, WiUard Leroy 

Applet on's bkl. 6:511 

Cent. o. s. 77:155 

Int. studio 39:8 

New Eng. M. n. s. 39:374 

Quar. illus. 3:93 
Millet, Francis Davis 

Art & P. 3:635; 4:1087 

Artist 26:lxiv 

Craftsman 15:426 

Int. studio 32:sup. cxi; 48:sup xxxiv 

Nation 94:410 

Scrib. M. 51:253 

W. Work 19:12378 
Mora, Francis Luis 

Craftsman 17:402 

Harp. 123:888 

Int. studio 49:3 
Moran, Edward 

Brush & P. 8:118 
Moran, Mary Nimmo 

Brush & P. 8:3 

Scrib. M. 46:731 
Moran, Peter 

Art journal 31:26 
Moran, Thomas 

Brush & P. 7:1 

Harp. 59:677 

Murphy, John Francis 

Arts&D. 3:191 
Brush & P. 10:205 
Int. studio 53:sup. hi 

Nourse, Elizabeth 
Art & P. 2:262 
Cent. o. s. 59:481 



Cosmopol. 29:25 

Cur. ht. 48:90 

Int. studio 27:247; 54:sup. xxvi 
Oakley, Violet 

Arch. rec. 22:455 

Cent. o. s. 70:265; 81:734; 85:239 

Critic 36:521 

Good H. 54:470 

Scrib. M. 41:637 

W. Work 23:606 
Ochtman, Leonard 

Artist 24:lix; 27 :v, x-i 

Brush & P. 4:125; 9:65 
Osthaus, Edmund Henry 

Brush & P. 18:81 
Pape, Eric 

Bookm. 11:140 

New Eng. M. 39:455 
Parrish, Maxfield 

Bkmn. 11:55 

Critic 46:512 

Ind. 59:1403 

Int. studio 29:35 

Outl. 78:839 
Pennell, Joseph 

Art & P. 4:766 

Bookm. 36:158 

Brush & P. 12:81 

Canad. M. 38:333 

Cent. o. s. 84:567 

Craftsman 20:113 

Int. studio 30:312; 38:22; 40:200; 48:132 

Outl. 81:172; 96:912 

Picknell, WilUam L. 

Cent. o. s. 62:710 
Pratt, Bela L. 
Arch. rec. 35:508 
Art & P. 2:297; 4:1105 
Cent. o. s. 78:722 
Int. studio 38:sup. iii 
New Eng. M. n. s. 39:632 

Pyle, Howard 

Craftsman 15:502 

Harp. 124:255 

Int. studio 45:sup. Ixxi 

Nation 93:479 

Outl. 85:453; 101:270 

Ranger, Henry W. 

Brush & P. 16:39 
Cent. o. s. 70:636 
Int. studio 29:sup. xxxiii 

Redfield, Edward W. 

Arena 36:20 

Country hfe 13:194 

Int. studio 41: sup. xxix; 27:sup. xxxviii 

Reid, Robert 

Artist 24:Lxiv; 27:ix 
Arts& D. 2:13 
Craftsman 7:699 
Int. studio 36:sup. cxiii 

Remington, Frederic 

Cent. o. s. 86:354 



278 



Craftsman 15:658 

Cur. lit. 33:653; 43:521 

Nation 89:662 

Scrib. M. 32:408; 47:181. 
Robinson, Theodore 

Brush & P. 4:285 

Scrib M. 19:784 
Rolshoven, JuHus 

Artist 26:185 

Int. studio 27:ciii 

Saint-Gaudens, Augustus 

Arena 38:385 

Brush & P. 12:262 

Cent. o. s. 74:968 

Chaut. 38:460 

Craftsman 9:369 

Cur. Ut. 43:279 

Int. studio 33:sup. cxxiii 

Nation 85:115 

No. Am. R. 177:725 

R. of Rs. 36:290 

Outl. 84:199 

W. Work 7:4403; 14:9285 

Sargent, John Singer 
Arch. rec. 15:422 
Cent. o. s. 52:168 
Critic 47:326 
Harp. 75:683 
Ind. 51:1140 
Munsey 36:265 
R. of Rs. 36:692 
Scrib. M. 34:515; 52:509 
. Studio (Lond.) 19:3, 107 

Schofield, W. Elmer 

Arts& D. 1:473 

Int. studio 48:280 
Scudder, Janet 

House B. 36:10 

Int. studio 39:sup. Ixxxi 
Shannon, J. J. 

Harp. 111:204 

Munsey 14:129 

Studio (Lond.) 8:67 
Shrady, Henry M. 

Jour. Am. hist. 7:1005 

Munsey 29:546 

Scrib. M. 49:381 
Simmons, Edward E. 

Brush & P. 5:241 

Ind. 53:1795 
Sterner, Albert E. 

Brush & P. 5:193 

Int. studio 35:sup. liv 

Stephens, Alice Barber 
Brush & P. 6:241 

Symons, G. Gardner 
Outl. 105:881 

Taft, Lorado 
Arch. rec. 36:13 
Craftsman 14:12 
Cur. lit. 44:515; 51:562 
W. Today 14:191 



Tanner, Henry O. 

Artist 26:lxv; 27 :v 

Brush & P. 6:97 

Cosmopol. 29:18 

Cur. lit. 45:404 

Ind. 65:1600 

Int. studio 46:288; 54:sup. xxvii; 50;sup. 
xi 

Outl. 64:793 

W. Work 18:11661, 11769 
Tarbell, Edmund C. 

Artist 27:lxxv 

Burhngton M. 14:254 

Critic 48:136 

Int. studio 32:sup. Ixxv; 50:xi 

W. Today 11:1077 
Thayer, Abbott Henderson. 

Brush & P. 6:207 

Critic 46:423 

Int. studio 33:sup. Ixxxi; 39:187 

Studio int. 6:247 
Tiffany, Louis C. 

Artist 24:iv 
Twachtman, John Henry 

Am. M. 61:599 

Brush & P. 12:243 

Craftsman 14:570 

Forum 52: 245 

Ind. 58:147 

Int. studio 35:sup. 24; 38:sup. h 

No. Am. R. 176:554 
Van Ingen, William B. 

Arch, rec 13:322 

Vedder, Elihu 

Artist 27:xv 

Bookm. 35:145 

Cent. o. s. 86:917 

Int. studio 35:sup. xciv 

Outl. 98:693 
Volk, Douglas 

Cent. o. s. 68:654 
Vonnoh, Bessie Potter (Mrs. Robert W. 
Vonnoh) 

Brush & P. 2:29 

House B. 35:125 

Scrib. M. 19:126 

Vonnoh, Robert W. 

Art & P. 4:99 

Artist 29:xii 

Arts & D. 2:381 

Harp. 116:254 

Int. studio 27:sup. Ixxxvi 

Walker, Henry O. 

Int. studio 27:sup. Ixxxvi 

Walker, Horatio 
Arts&D. 1:63 
Brush & P. 6:82 
Canad. M. 18:495 
Craftsman 14:238 
Harp. 117:947 



Ward, John Q. 
Harp. 57:62 



A. 



Int. studio 40:sup. Ixxxi 

R. of Rs. 41: 694 

Scrib. M. 32:385 
Warner, Olin L. 

Cent. o. s. 35:392; 46:436 

Scrib. M, 20:429 
Waugh, Frederick J. 

Arts& D. 1:111 

Int. studio 51:273 
Webster, Herman A. 

Int. studio 40: sup. vi; 45:208 
Weinman, Adolph Alexander 

Arch. rec. 33:519 

Cent. o. s. 81 :705 

Int. studio 39: sup. xliv 
Weir, J. Alden 

Arts & D. 2:55 

Burlington M. 15:131 

Cent. o. s. 57:956 

Cosmopol. 32:596 

Harp. 114:286 

Whistler, James McNeill 
Brush & P. 12:334 
Cent. o. s. 80:219; 86:694 



279 



Int. studio 21:3, 208; 25:224 
Masters in art 8:503, bibliog. 
W. Work 6:3923. 

Wiles, Irving Ramsey 

Art & D. 1:402 

Bkbuy. 11:387 

Cent. o. s. 54:799 

Craftsman 14:602; 18:347 

Harp. 109:802; 114:608 

R. of Rs. 34:40 
Woodbury, Charles H. 

Art & P. 4:761 

Brush & P. 6:1 

Int. studio 42: sup. Ixxi 

Wyant, Alexander Helwig 
Am. illus. M. 61:34 
Brush & P. 11:184 
Harp. 59:678; 110:802 

Yohn, F. C. 

Brush & P. 2:161 

Young, Mahonri 
Cur. opin. 57:200 
Int. studio 47:sup. iv 




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